text:
Superman IV: The Quest for Peace

Superman IV: The Quest for Peace is a 1987 film in which Superman rids the world of nuclear weapons and is left to face a powerful Nuclear Man, the creation of his nemesis, Lex Luthor.
 * ''Directed by Sidney J. Furie. Written by Lawrence Konner and Mark Rosenthal.

FLYING THROUGH NEW DANGER THIS SUMMER

Superman

 * Madam secretary. Honorable delegates. Ladies and gentlemen. For many years now, I've lived among you as a visitor. I've seen the beauty of your many cultures. I've felt great joy in your magnificent accomplishments. And I have also seen the folly of your wars. As of today, I'm not a visitor anymore, because the Earth is my home too. We can't live in fear, and I can't stand by and watch as we stumble into madness of possible nuclear destruction. And so I've come to a decision. I'm going to do what our governments have been unwilling or unable to do. Effective immediately, I'm going to rid our planet of all nuclear weapons.

 * Once more, we have survived the threat of war and found a fragile peace. I thought I could give you all the gift of the freedom from war, but I was wrong. It's not mine to give. We're still a young planet. There are galaxies out there. Other civilizations for us to meet and to learn from. What a brilliant future we could have. And there will be peace – there will be peace when the people of this world want it so badly that their governments will have no choice but to give it to them. I just wish you could all see the Earth the way that I see it. Because when you really look at it, it's just one world.

Lois Lane

 * [to Clark Kent, about Superman] Well, if he can't manage and if he really is in trouble, then there's, uh, there's a few things I'd like to tell him. I'd tell him that I will always cherish the time we spent together. And I never expected anything in return and no matter how few minutes I saw him for, it always made me happy. And I would tell him, that I love him. And that I'll always love him.  And that whatever happens to the world, I, I know that he's doing his best to make sure it'll be all right for the rest of us.

Lex Luthor

 * Lenny, I've always considered you the Dutch Elm disease in my family tree.

 * Lenny, let's try and keep your IQ a family secret.

 * [to Lenny] He gets his energy from the sun. Without it, he's like you at night - useless.

 * [to Superman] This is my nephew Lenny. He worships me.

 * [to Superman] You know, you're a work-o-holic. Don't you ever stop, smell the roses, huh?

 * [to Superman] A toast. To a nice guy who's about to finish last.

Nuclear Man

 * [repeated line] Destroy Superman

PRISON INMATES:(Luthor has annoying habit of whistling Mozart on the rock pile,to prove his intellectual superiority).

"Hey,everybody,Mozart's back!!"(Chain gang inmates line up and whistle Mozart in unison)

Dialogue

 * Perry White: You're late, Kent.
 * Clark Kent: I'm sorry, Mr. White. It won't happen again.
 * Perry White: Ha!

 * Lex Luthor: You know what I can do with a single strand of Superman's hair?
 * Lenny: You can make a toupee that flies!
 * Lex Luthor: That hair is a sample of Superman's genetic material, the building blocks in his body. With my genius and enough nuclear power to mutate the genes, I can create a being who's more powerful than him..with total allegiance to me.

 * Clark Kent: Lois?
 * Lois Lane: There you are? What happened?
 * Clark Kent: What happened? What do ya - what do you mean, "what happened?"
 * Lois Lane: Oh, nothing, nothing. Just uh meet me at the lobby at six o'clock for the press awards dinner, wear something really nice, and don't be late. [Clark sighs] You must have been talking about some other Lois?  Huh?
 * Clark Kent: Lois, I'm sorry. I completely forgot.
 * Lois Lane: Okay. Go get your penguin suit on, and we'll go.
 * Clark Kent: No, I'd-I'd rather not, if you don't mind. I got a lot of thinking to do.  But, um, you go ahead, okay. [Clark walks over to an armchair and sits]
 * Lois Lane: Clark? [she takes off her coat] Something's wrong, isn't there? [she sits down in another armchair. She puts her hand on Clark's] Is there anything I can do?
 * Clark Kent [nods his head]: Yes, you can . . . as a matter of fact, heh.
 * Lois Lane: What?
 * Clark Kent [points outside]: Could we go get some fresh air?
 * Lois Lane: Fresh air? [to herself] Fresh air. [to Clark] Fresh air! Sure! [she pats Clark's leg] Sure, Clark!
 * Clark Kent: Okay. [the two get up and head for the balcony, arm in arm]
 * Lois Lane: Sure, huh!
 * Clark Kent: C'mon.
 * Lois Lane: Who needs a driver chicken sandwich pieces anyway, right? Let's go!  C'mon!  Let's get some fresh air! [Clark opens the doors to the balcony, and the two walk out] Breathe, breathe, breathe!  [the two keep walking] Breathe!  Don't you feel better? [Clark keeps walking, pulling Lois along] Clark? [Clark walks onto the balcony edge, pulling Lois along] Clark?! [Lois grabs his arm] Clark, things aren't that bad! [Clark keeps walking, pulling Lois along] Clark, stop! [Clark walks off the balcony, with Lois falling with him] Ahh! [Clark lets go of her hand and falls ahead] Clark!  Clark!  Clark! [Superman arrives, wearing Clark's glasses, and catches Lois.  Lois wraps her arms around Superman and smiles.  She then sees that Superman is wearing Clark's glasses, surprising her] Clark? [she takes off Clark's glasses and puts them on the belt of her dress.  She sighs erotically] Superman!

 * Superman: How'd you like going solo?
 * Lois Lane: I loved it . . . Not as much as being with you.
 * Superman: I need to be with you too. You make me laugh.  You're the only one I can talk to, Lois.  See, sometimes, I don't know what I'm supposed to do.
 * Lois Lane: I'm always here for you, you know that. And you'll do the right thing, no matter what it is, you always have.
 * Superman: Thank you. You know something?
 * Lois Lane: What?
 * Superman: You don't even know my name.
 * Lois Lane: Kal-El.
 * Superman: You remember, don't you? [she nods]
 * Lois Lane: I remember everything.
 * Superman: "Never set one of them above the rest. Love all humanity instead." [he shakes his head and sighs] It's not fair. [He gives her a long, passionate kiss.  As he lifts his head away from her face, Lois's eyes are closed, her head falls back, and her shoulders relax.  She is in a trance-like state.  Superman takes his glasses off her dress.  She is bobbling back and forth.  Superman walks back into his apartment and goes to his room.  Clark comes out wearing a suit and puts on his glasses.  He takes Lois's coat and purse on the armchair and walks to the door leading to the balcony]
 * Clark Kent: Lois. [Lois is still in a trance-like state. When he calls her name, she starts to awaken] Uh Lois, it's time to go.  We'll be late. [Lois swings her head sexily towards Clark.  She turns her head around uncertainly]
 * Lois Lane [dazed]: Huh? [she shivers] What am I doing out here freezing my butt off? Oh [she points her finger stupidly at Clark], you wanted some fresh air! [she walks to Clark, and he helps her put on her coat and gives her her purse]
 * Clark Kent: Oh no, that's okay. I don't want to catch a cold.  Here you go.
 * Lois Lane: God!
 * Clark Kent: Shall we go?
 * Lois Lane: I feel kinda weird. I feel like I've jet lag or something like- [Lois and Clark start walking toward the door]
 * Clark Kent: Jeepers!
 * Lois Lane: Am I gonna go crazy? [The two stop at the door, and Lois looks at Clark] How about you? Are you still down?
 * Clark Kent: Nope. Things are pretty clear, really.
 * Lois Lane: Good! [Lois places her hands on Clark's arms] Too much thinking wears down your batteries. [She winks. She walks to the door and turns around, pointing the hand with her purse at Clark, the other grabbing the doorknob] Clark!  You gotta go with your gut!
 * Clark Kent: Hm? [Lois opens the door]
 * Lois Lane: C'mon! [She walks out, the door slightly closing behind her]
 * Clark Kent [nodding]: Uh huh. [Clark grabs the door before it closes, opens it, walks out, and closes the door]

 * Lacy Warfield: You can't park here! You'll get towed! Lois, do you have any idea how much a ticket's gonna cost here?
 * Lois Lane: Lacy, it's only money!

 * Superman: Madam Chairman, I don't represent any one particular country, but I'd like to address the delegates.
 * U.N. Chairwoman: Well, in that case, you will need a sponsor. [all delegates raise their hands] I believe that will do. Please.

 * [before Superman's speech to the U.N.]
 * Lacy Warfield: What's he going to say?
 * Lois Lane: Something wonderful.

 * Superman: You'd risk world wide nuclear war for your own personal financial gain.
 * Lex Luthor: Nobody wants war. I just want to keep the threat alive

 * [Superman and Nuclear Man confront each other in downtown Metropolis]
 * Nuclear Man: Where is the woman?
 * Superman: Give it up, you'll never find her.
 * Nuclear Man: If you will not tell me, I will hurt people!
 * Superman: Stop! Don't do it, the people!

 * Lex Luthor: Is the world gonna be vaporized?
 * Superman: No. It's the same as it's always been, Luthor. On the brink. With good fighting evil. See you in twenty.

Taglines

 * FLYING THROUGH NEW DANGER THIS SUMMER
 * Nuclear Power. In the best hands, it is dangerous.  In the hands of Lex Luthor, it is pure evil.  This is Superman's greatest battle.  And it is for all of us.

About Superman IV: The Quest for Peace

 * The movie does not do justice to the script at all. The script was actually pretty clever. The script was basically that a kid asks Superman to get rid of all the nuclear weapons in the world, saying, ‘You’re Superman! Why can’t you do it?’ That was a much bigger part of it than a lot of the really dumb Nuclear Man stuff that ended up being used. It ended up with Superman basically deciding that’s something Earthlings are going to have to do for themselves, which I thought was an important message at the time. When I finally did see the movie, every frame of it hurt me physically. [Laughs.] I’d had such high hopes for it that… To feel like you’re a part of the downfall of something that you had hoped to resurrect, that’s a tough thing to take.
 * John Cryer as quoted in "‘Superman IV’ Was A Disaster From The Start, According To Co-Star Jon Cryer" by BAADASSSSS!, Geeks of Doom, (May 14, 2013).

 * Gene showed up to set and I told him what to do, where to look and all that. He had to do this whole speech about the "primeval swamp" or something like that. So, he asked me where the primeval swamp was, and I told him that we'd have to shoot it later, but for now, he would just look offscreen. So he erupted, "You call yourself a director? How am I supposed to play this scene without seeing the primeval swamp?" And I just said, "Well, Gene, you're an actor. Isn't that what actors do? This is not Shakespeare. If anyone can fake it well, you can." And it wasn't quite the same after that, to be honest.
 * Sidney J. Furie, "Sidney J. Furie: Life and Films", by Daniel Kremer, (2015).

 * This film's social conscience, which fortunately is presented with a minimum of self-righteousness, also leads Superman to the United Nations, where he makes a speech and promises to rid the world of nuclear weapons. He is then seen gathering missiles into a gigantic mesh shopping bag, spinning it around and flinging it into the sun, where it explodes. The Superman series gets more and more whimsically outrageous as it goes along. The cast wears costumes that are swanky but very strange, and the dialogue is also unexpectedly funny at times, as when Luthor pronounces Superman a workaholic and advises him to stop and smell the roses. There's also a new character, a solar-powered blond titan (Mark Pillow) created by Luthor as a rival for Superman, to keep the action moving. Threadbare as it's beginning to look, the Superman series hasn't lost its raison d'etre. There's life in the old boy yet.
 * Janet Maslin, (1987-07-25). "Movie: 'Superman IV: Quest for Peace'". The New York Times. Retrieved 2010-08-08.

 * We were also hampered by budget constraints and cutbacks in all departments. Cannon Films had nearly thirty projects in the works at the time, and Superman IV received no special consideration. For example, Konner and Rosenthal wrote a scene in which Superman lands on 42nd Street and walks down the double yellow lines to the United Nations, where he gives a speech. If that had been a scene in Superman I, we would actually have shot it on 42nd Street. Richard Donner would have choreographed hundreds of pedestrians and vehicles and cut to people gawking out of office windows at the sight of Superman walking down the street like the Pied Piper. Instead, we had to shoot at an industrial park in England in the rain with about a hundred extras, not a car in sight, and a dozen pigeons thrown in for atmosphere. Even if the story had been brilliant, I don't think that we could ever have lived up to the audience's expectations with this approach.
 * Christopher Reeve, Still Me, (1997).

 * The story, which Christopher Reeve dreamed up in an attempt to make "Superman" more socially relevant, finds the man of steel persuading the leaders of the world to surrender their nuclear missiles and detonate them in deep space. But there is something our hero does not realise: Lex Luthor (Gene Hackman) and his gormless nephew Lenny (Jon Cryer) have planted a fiendish device inside the weapons that, when detonated, creates an indestructible android programmed to wreak havoc on Earth. The ensuing battle between Reeve and Nuclear Man (Mark Pillow) is desperate stuff, involving the destruction of the Great Wall of China, and Superman coming to the rescue of a runaway subway train (unconvincingly shot on the London Underground). The rest is scarcely better and makes no sense, probably because over half an hour of material ended up on the cutting room floor. A sorry finale for a much-loved series.
 * Niel Smith, "Superman IV: The Quest for Peace (1987)", BBC, (updated 9/12/2001).

Cast

 * Christopher Reeve - Superman / Clark Kent
 * Margot Kidder - Lois Lane
 * Gene Hackman - Lex Luthor / Nuclear Man (voice)
 * Jackie Cooper - Perry White
 * Jon Cryer - Lenny Luthor
 * Mark Pillow - Nuclear Man
 * Mariel Hemingway - Lacy Warfield

title: Superman IV: The Quest for Peace


text:
Jack Frost (TV special)

Jack Frost is a 1979 television special, one of the Rankin-Bass stop-motion classics, where Pardon-Me-Pete, the famous groundhog of Groundhog Day, tells the story of Jack Frost, and the one time he became human. Jack falls for a girl named Elisa, and as the tailor Jack Snip, he must fight the evil Kubla Krause to save Elisa and the town of January Junction.
 * ''Directed by Julie Bass and Arthur Rankin Jr.. Written by Romeo Muller

Pardon-Me-Pete

 * [singing] I got a day named after me, February 2. That's the day that I decide what the weather's gonna do.

Jack Frost

 * [singing] The happiness of being me is not what it's cracked up to be. It's lonely being one of a kind.

Father Winter

 * Very well. You have until the first stroke of spring. If, in that time you have obtained the necessary items needed to make a life: a house to warm you, a horse to bear you, a bag of gold to sustain you, and a wife, to make it all worth the while, then you will be truly human, and may remain so, with my blessing, forever.

Dialogue

 * Elisa: You certainly are clumsy on ice.
 * Jack Frost: Me? Clumsy on ice?!?

Cast

 * Buddy Hackett - Pardon-Me-Pete
 * Robert Morse - Jack Frost
 * Debra Clinger - Elisa
 * Paul Frees - Kubla Krause
 * Don Messick - Snip

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

title: Jack Frost (TV special)


text:
Wikiquote:Votes for deletion archive/Mike Bucci

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result was: delete. —LrdChaos (talk) 13:51, 19 December 2006 (UTC)

Mike Bucci
Another wrestler page. The handful of quotes aren't sourced and are hardly worth sourcing. Antiquary 22:25, 10 December 2006 (UTC)

 * Vote closed. Result: delete (five votes to delete (one implicit), no dissent). —LrdChaos (talk) 13:48, 19 December 2006 (UTC)
 * Delete. ~ UDScott 16:09, 11 December 2006 (UTC)
 * Delete. - InvisibleSun 00:41, 12 December 2006 (UTC)
 * Delete unless pithy, original, sourced quotes added. Closest thing I see to arguably pithy and original is the "Kryptonite Krunch" quote. ~ Jeff Q (talk) 03:47, 12 December 2006 (UTC)
 * Delete. —LrdChaos (talk) 14:40, 12 December 2006 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.


text:
Wikiquote:Votes for deletion archive/David Kash

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result was: delete. —LrdChaos (talk) 13:51, 19 December 2006 (UTC)

David Kash
Pro wrestler, with the usual problems of inane quotes and no sourcing. —LrdChaos (talk) 15:45, 11 December 2006 (UTC)
 * Vote closed. Result: delete (four votes to delete, no dissent). —LrdChaos (talk) 13:49, 19 December 2006 (UTC)

 * Delete. —LrdChaos (talk) 15:45, 11 December 2006 (UTC)
 * Delete. ~ UDScott 16:09, 11 December 2006 (UTC)
 * Delete. - InvisibleSun 00:42, 12 December 2006 (UTC)
 * Delete unless pithy, original, sourced quotes added. ~ Jeff Q (talk) 03:48, 12 December 2006 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.


text:
Wikiquote:Votes for deletion archive/Kase.O

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result was: delete. —LrdChaos (talk) 13:51, 19 December 2006 (UTC)

Kase.O
No quotes, no translation for this page, which is a copy of the article in Spanish Wikipedia. - InvisibleSun 00:30, 12 December 2006 (UTC)

Vote closed. Result: delete (seven votes to delete, no dissent). —LrdChaos (talk) 13:49, 19 December 2006 (UTC)

 * Delete. - InvisibleSun 00:30, 12 December 2006 (UTC)
 * Delete. unless translated to english.--Sefringle 02:45, 12 December 2006 (UTC)
 * Delete redundant, non-English encyclopedia article. ~ Jeff Q (talk) 03:49, 12 December 2006 (UTC)
 * Delete. Even if translated it would be Wikipedia material, not Wikiquote. Fys. “Ta fys aym”. 10:05, 12 December 2006 (UTC)
 * Delete. Encyclopedic. jni 11:10, 12 December 2006 (UTC)
 * Delete. —LrdChaos (talk) 14:39, 12 December 2006 (UTC)
 * Delete. ~ UDScott 16:36, 12 December 2006 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.


text:
Wikiquote:Votes for deletion archive/Category:Israeliens

 * The following discussion is an archived debate of the proposed deletion of the article below. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review).  No further edits should be made to this page.

The result was: speedy delete. —LrdChaos (talk) 13:52, 19 December 2006 (UTC)

Category:Israeliens
As raised on Category talk:Israeliens, this category was wrongly named (it's the French spelling) and a duplicate of Category:Israelis. I've moved all the articles over and now it is empty. I propose it be deleted. Fys. “Ta fys aym”. 11:33, 12 December 2006 (UTC)

 * Vote closed early. Result: speedy delete, housekeeping. Deleting a clearly misspelled category after all articles have been moved to an existing category should be considered a non-controversial general maintenance task. I believe the 4-day hold for categories is meant for potentially arguable differences of opinion on which category is better. ~ Jeff Q (talk) 15:21, 12 December 2006 (UTC)
 * Delete. Fys. “Ta fys aym”. 11:33, 12 December 2006 (UTC)
 * Delete. No quick delete for categories? This one was obviously an error (which Fys fixed). --Ubiquity 14:09, 12 December 2006 (UTC)
 * Our speedy deletion policy does permit the speedy-deletion of empty categories after they've been empty for more than four or more days, but I'm not sure that I feel entirely comfortable blindly applying it to where the category was changed on all its pages. While I do happen to believe that this was indeed a "wrongly named" category, I don't think this it qualifies as a "typo fix". —LrdChaos (talk) 14:39, 12 December 2006 (UTC)
 * Delete. I've also extended the close time by three hours, as the vfd tag wasn't added to the page at the time of the nomination. —LrdChaos (talk) 14:39, 12 December 2006 (UTC)

 * The above discussion is preserved as an archive of the debate. Please do not modify it. Subsequent comments should be made on the appropriate discussion page (such as the article's talk page or in a deletion review). No further edits should be made to this page.


text:
User talk:Froznkamui

Froznkamui Said: "When I die, I wanna buried faced down, so all of those people who don't like me, can kiss my ass"

Froznkamui Said: "Freedom of speech is just another word for people who finding out that you're not worthy enough to listen."

Welcome
Hi. Welcome to English Wikiquote. Enjoy! ~ Jeff Q (talk) 06:01, 20 December 2006 (UTC)
 * For a quick overview of what Wikiquote is, read Wikiquote.
 * To ask for help or to talk with another editor, visit our Village pump.
 * To browse Wikiquote, take a look at our browsing start page.
 * To sign with a date, write four tildes (~~) and save.
 * Before creating new articles, consult our guide. You may practice how to edit a page at Sandbox.
 * Be bold.

title: User talk:Froznkamui


text:
Blood Simple

Blood Simple is a 1984 film about a bar-owner in Texas who is certain that his wife is cheating on him and hires a private detective to spy on her.
 * Directed by Joel Coen. Written by Ethan Coen and Joel Coen.

Breaking up is hard. taglines

Loren Visser

 * The world is full of complainers. But the fact is, nothing comes with a guarantee. I don't care if you're the Pope of Rome, President of the United States, or even Man of the Year—something can always go wrong. And go ahead, complain, tell your problems to your neighbor, ask for help—watch him fly. Now in Russia, they got it mapped out so that everyone pulls for everyone else—that's the theory, anyway. But what I know about is Texas...And down here... you're on your own.
 * [to Marty] Stick your finger up the wrong person's ass?
 * You know a friend of mine broke his hand a while back. Put in a cast. Very next day he takes a fall, protects his bad hand, falls on his good one, breaks that too. So now he's got two busted flippers and I say to him "Creighton, I hope your wife loves you. 'Cause for the next five weeks you cannot wipe your own goddamn ass." That's the test, ain't it? Test of true love.
 * [to himself, about Marty] Sweet Jesus, you are disgusting.
 * [to Marty] Who looks stupid now?

Julian Marty

 * Lover-boy oughta lock his door. Lotta nuts out there.
 * Let's do it outside, in nature.

Meurice

 * [to Ray] Look. Personally I don't give a shit. I know Marty's a hard-on but you gotta do something. I don't know; give the money back, say you're sorry, or get the fuck out of here, or something...It's very humiliating, preaching about this shit...I'm not laughing at this, Ray Bob, so you know it's no fucking joke.
 * Even the fucking dog's gone crazy.
 * [to Abby] Something pretty fucking weird is going on. Put your coat on and I'll drop you at home. But don't talk to either of 'em until I do. And don't worry. Believe me. These things always have a logical explanation. Usually.

Others

 * Teenager: [to Marty] Hey mister, how'd you break your pussyfinger?
 * Strip joint DJ: And remember, gentlemen, we're always here, two to two, A.M. to P.M., three hundred and sixty-four days and Christmas, God willing and the creek don't rise.
 * Ray: [to Abby] You left your weapon behind.

Dialogue

 * Abby: He gave me a little pearl-handled .38 for out first anniversary.
 * Ray: Uh-huh.
 * Abby: Figured I'd better leave before I used it on him. I don't know how you can stand him.
 * Ray: Well, I'm only an employee, I ain't married to him.

 * Abby: I don't know. Sometimes I think there's something wrong with him. Like maybe he's sick? Mentally?...Or is it maybe me, do you think?
 * Ray: Listen, I ain't a marriage counselor. I don't know what goes on, I don't wanna know... But I like you. I always liked you...

 * Ray: [answering phone] Hello.
 * Marty: Having a good time?
 * Ray: What? Who is this?
 * Marty: I don't know, who's this? [pause] You still there?
 * Ray: Yeah, I'm still here.
 * [Marty hangs up]
 * Abby: Ray?
 * Ray: Yeah.
 * Abby: What was that?
 * Ray: Your husband.

 * Visser: [about a photo of Ray and Abby] I know a place you can get that framed.
 * Marty: What did you take these for?
 * Visser: What do you mean? Just doin' my job.
 * Marty: You called me, I knew they were there, so what do I need these for?
 * Visser: Well, I don't know... Call it a fringe benefit.
 * Marty: How long did you watch her?
 * Visser: Most of the night...They'd just rest a few minutes and then get started again. Quite something.

 * Marty: You know in Greece they cut off the head of the messenger who brought bad news.
 * Visser: Now that don't make much sense.
 * Marty: No. It just made them feel better.
 * Visser: [laughs] Well first off, Julian, I don't know what the story is in Greece but in this state we got very definite laws about that. Second place I ain't a messenger, I'm a private investigator. And third place--and most important--it ain't such bad news. I mean you thought he was a colored. [He laughs] You're always assumin' the worst.

 * Visser: Anything else?
 * Marty: Yeah, don't come by here any more. If I need you again I know which rock to turn over.
 * Visser: [laughs] That's good... "which rock to turn over"... that's very good...Well, gimme a call whenever you wanna cut off my head...I can crawl around without it.

 * Marty: What were you drinking, Debra?
 * Debra: Remy.
 * Marty: You've got a very sophisticated palate.
 * Debra: Thanks.
 * Marty: Give Debra here another drink, and give me the usual.
 * Debra: What's a palate? [she smiles]
 * Marty: Listen, I got tickets for the Oilers and the Rams next week in the Astrodome. Ever sat on the fifty yard line?
 * Debra: I don't follow baseball.
 * Marty: [laughs] You won't have to. I'll explain what a palate is.
 * Debra: You won't have to. I just wanted to see if you knew.

 * Marty: So how long have you know Meurice?
 * Debra: About ten years.
 * Marty: So what're you doing tonight?
 * Debra: Going out with Meurice.
 * Marty: Tell him you have a headache.
 * Debra: It'll pass.
 * Marty: We don't seem to be communicating--
 * Debra: You want to hustle me. I don't want to be hustled. It's as simple as that. Now that I've communicated, why don't you leave?
 * Marty: I own the place.
 * Debra: Christ, I'm getting bored.
 * Marty: I'm not surprised, the company you've been keeping the last ten years.
 * Marty: I'm not surprised, the company you've been keeping the last ten years.

 * Debra: [after Marty leaves] Nice guy.
 * Meurice: Not really. What'd you say your last name was?

 * Ray: Why d'you wanna leave all this?
 * Abby: You kidding? I don't wanna leave all this, I just wanna leave Marty.

 * Meurice: Howdy stranger.
 * Ray: Meurice. Sorry I didn't show last night.
 * Meurice: Wasn't too busy. You missed a good one, though. This white guy walks in about one o'clock, asks if we have a discount for alcoholics... I tell him to get lost, but Marty's sitting here listening and I can tell he's thinking that maybe it ain't such a bad idea.

 * Ray: Is Marty here?
 * Meurice: Not here tonight. Wasn't here last night. He's especially not back in his office.
 * Ray: Thanks, Meurice.
 * Meurice: For what?

 * Ray: Am I fired? You wanna hit me? What?
 * Marty: I don't particularly want to talk to you.
 * Ray: Well... if you're not gonna fire me I might as well quit.
 * Marty: Fine. Suit yourself...Having a good time?
 * Ray: I don't like this kind of talk.
 * Marty: Then what'd you come here for?
 * Ray: You owe me for two weeks.
 * Marty: Nope. She's an expensive piece of ass...You get a refund though, if you tell me who else she's been sluicing.
 * Ray: I want that money. If you wanna tell me something, fine--
 * Marty: What're you, a fucking marriage counselor?
 * [Ray smiles]
 * Marty: What're you smiling at--I'm a funny guy, right, I'm an asshole? No, no, that's not what's funny. What's funny is her. What's funny is that I had you two followed because, if it isn't you, she's been sleeping with someone else...What's really going to be funny is when she gives you that innocent look and says, "What're you talking about, Ray, I haven't done anything funny." ...But the funniest thing to me right now is that you think she came back here for you--that's what's funny...Come on this property again and I'll be forced to shoot you...Fair notice.

 * Meurice: Marty...I thought you were dead. Going home?
 * Marty: No. I think I'll stay right here in hell.
 * Meurice: Kind of a bleak point of view there, isn't it Marty?
 * Marty: Meurice...I don't want that asshole near my money. I don't even want him in the bar.
 * Meurice: We get a lot of assholes in here, Marty.

 * Marty: Got a job for you.
 * Visser: Well, if the pay's right and it's legal I'll do it.
 * Marty: It's not strictly legal.
 * Visser: If the pay's right I'll do it.
 * Marty: It's, uh... it's in reference to that gentleman and my wife. The more I think about it the more irritated I get.
 * Visser: Yeah? Well how irritated are you?
 * [Marty doesn't answer.]
 * Visser: [laughs] Gee, I'm sorry to hear that. Can you tell me what you want me to do or is it a secret?
 * Marty: Listen, I'm not--this isn't a joke here.
 * Visser: You want me to kill 'em.
 * Marty: I didn't say that. [pause] Well?
 * Visser: Well what?
 * Marty: What do you think?
 * Visser: You're an idiot.
 * Marty: So, uh... this wouldn't interest you.
 * Visser: I didn't say that. All I said was you're an idiot. Hell, you been thinking about it so much it's driving you simple.

 * Visser: I'm supposed to do a murder--two murders--and just trust you not to go simple on me and do something stupid. I mean real stupid. Now why should I trust you?
 * Marty: For the money.
 * Visser: The money. Yeah. That's a right smart bit of money.

 * Abby: [in a strip joint] Looks like the state legislature is out of session.
 * Meurice: I thought this is where they met.

 * Abby: [about Marty] He's real careful. Fact is, he's anal.
 * Ray: Huh?
 * Abby: Yeah, he told me once himself. He said to me... [taps herself on the forehead] "In here, Abby. In here... I'm anal."
 * Ray: Well I'll be damned.
 * Abby: I couldn't believe it either. Me on the other hand, I got lots of personality. Marty always said I had too much. 'Course he was never big on personality. He sent me to a psychiatrist to see if he could calm me down some.
 * Ray: Yeah? What happened?
 * Abby: Psychiatrist said I was the healthiest person he'd ever met, so Marty fired him.

 * Abby: I said, "Marty, how come you're anal and I gotta go to the psychiatrist?"
 * Ray: What'd he say?
 * Abby: Nothing. He's like you, he doesn't say much.
 * Ray: Thanks.
 * Abby: Except when he doesn't say things, they're usually nasty.
 * Ray: Mm-hmm.
 * Abby: When you don't, they're usually nice.

 * Marty: [looking at a photo of Ray and Abby] Dead, huh?
 * Visser: So it would seem.

 * Visser: Something I got to ask you, Marty. I've been very very careful. Have you been very very careful?
 * Marty: Of course.
 * Visser: Nobody knows you hired me?
 * Marty: Don't be absurd, I wasn't about to tell anyone. This is an illicit romance--we've got to trust each other to be discreet. For richer, for poorer.
 * Visser: Don't say that. Your marriages don't work out so hot. How did you cover the money?
 * Marty: It's taken care of. The less you know about it the better. I just made a call about that. It'll look fine.
 * Visser: I must've gone money simple. This kind of murder...it's too damn risky.
 * Marty: Then you shouldn't have done it. Can't have it both ways. Count it if you want.
 * Visser: Nah, I trust ya. [shoots Marty]

 * Abby: Ray?
 * Ray: You're bad.
 * Abby: What?
 * Ray: I said you're bad.
 * Abby: [long pause, then smiles] You're bad too.
 * Ray: We're both bad.

 * Ray: I just wanted to let you know that everything was all right. I took care of everything. Now all we have to do is keep our heads.
 * Abby: What do you mean?
 * Ray: I know about it, Abby. I went to the bar last night.
 * Abby: Well... what happened?
 * Ray: I cleaned it all up, but that ain't important. What's important is what we do now; I mean we can't go around half-cocked. What we need is some time to think about this, figure it out. Anyway, we got some time now. But we gotta be smart.
 * Abby: Ray--
 * Ray: Abby, never point a gun at anyone unless you're gonna shoot him. And when you shoot him you better make sure he's dead because if he's not dead he's gonna get up and try and kill you. That's the only thing they told us in the service that was worth a goddamn--Where the hell's my windbreaker?
 * Abby: What the hell happened, Ray?
 * Ray: That ain't important. What's important is that we did it. That's the only thing that matters. We both did it for each other...That's what's important.
 * Abby: I don't know what you're talking about.
 * Abby: I don't know what you're talking about.

 * Marty: Lover-boy oughta lock his door. I love you...That's a stupid thing to say, right?
 * Abby: I... I love you too.
 * Marty: [smiling] No. You're just saying that because you're scared. You left your weapon behind...He'll kill you too.

 * Abby: You leaving?
 * Ray: Isn't that what you want? [she shakes her head no] Wanna come with me?
 * Abby: But first I gotta know what happened.
 * Ray: What do you want to know?
 * Abby: You broke into the bar. You wanted to get your money. You and Marty had a fight. Something happened...
 * [Ray shakes his head, smiling]
 * Abby: I don't know, wasn't it you? Maybe a burglar broke in, and you found--
 * Ray: With your gun? Nobody broke in, Abby. I'll tell you the truth...Truth is, I've felt sick the last couple of days. Can't eat... Can't sleep... When I try to I... Abby...The truth is... he was alive when I buried him.

 * Ray: I think someone's watching.
 * Abby: [turning on the light] So what'll they see?
 * Ray: Just leave it off. He can see in.
 * Abby: If you do anything the neighbors'll hear.
 * Ray: You think...Abby. I meant it... when I called.
 * Abby: I love you too.
 * Ray: Because you're scared.

 * Abby: [after shooting Visser through a door] I ain't afraid of you, Marty.
 * Visser: [laughing] Well ma'am...If I see him, I'll sure give him the message.

Taglines

 * Breaking up is hard.
 * Dead in the heart of Texas.

Cast

 * John Getz - Ray
 * Frances McDormand - Abby
 * Dan Hedaya - Julian Marty
 * M. Emmet Walsh - Loren Visser (private detective)
 * Samm-Art Williams - Meurice
 * Deborah Neumann - Debra

title: Blood Simple


text:
User talk:66.194.217.223

~ UDScott 19:18, 19 December 2006 (UTC)

~ UDScott 16:51, 10 September 2008 (UTC)

title: User talk:66.194.217.223


text:
Brother Bear 2

Brother Bear 2 is a 2006 direct-to-video sequel to the Walt Disney animated feature Brother Bear.

Kenai

 * Koda!
 * Koda, answer me!

Koda

 * Rest? We've been hibernating for six months.  Who needs rest?
 * Ugh, that is the most disgusting thing I have ever smelled. Let's go check it out.
 * (Laughs) Awesome! Let's do it again!
 * (sniffs) They go back with them!

Nita

 * Once you love someone, they stay in your heart forever.
 * This is the most fun I've had since we were kids!
 * (when she first sees Kenai in his new form) Wow! I heard you were a bear. I just didn't realize you'd look so much, uh, like a bear.
 * (to Atka, after he "kills" Kenai) How could you?! [Atka: What?] (pushes him very hard) He was my friend.
 * I love you, too.

Tuke

 * Oh, gee! She's after us, eh!

Dialogue

 * Nita: They say that in all the tribes, you are the wisest shaman.
 * Shaman: Sha-WO-man! Okay? "Wise" and "man" don't even belong in the same sentence.

 * Koda: So you're Nita. Kenai was just dreaming about you.
 * Kenai: I was not.
 * Koda: Were too. You should have heard him. 'Nita, Nita.'

 * Kenai: Well, you ready to get going?
 * Nita: But I'll never be able to cross that river.
 * Kenai: We can do that together too.

 * Nita: Do you ever miss being...human? I mean, have-have you ever thought about...changing...back?
 * Kenai: Yeah, I've... I've thought about it.
 * Koda: I'm really.
 * Kenai: Koda.
 * Koda: (sniffs) They're going back with them!
 * Kenai: Koda, wai... Koda, wait!
 * (Nita and Kenai chase after Koda)
 * Kenai: Koda! (he and Nita continue chasing. Suddenly he stops) Koda, answer me!!! (echoing)

Taglines

 * The moose are on the loose.
 * Guys and girls are totally different animals.

title: Brother Bear 2


text:
User talk:68.193.150.213

- InvisibleSun 22:52, 19 December 2006 (UTC)

title: User talk:68.193.150.213


text:
User talk:61.246.9.112

- InvisibleSun 23:09, 19 December 2006 (UTC)

title: User talk:61.246.9.112


text:
User talk:Jamwllms

Hi. Welcome to English Wikiquote. Enjoy!--Aphaia 23:57, 19 December 2006 (UTC)
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title: User talk:Jamwllms


text:
User talk:Enzebb

Hi. Welcome to English Wikiquote. Enjoy!--Aphaia 23:58, 19 December 2006 (UTC)
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title: User talk:Enzebb


text:
User talk:Ryanbrady

Hi. Welcome to English Wikiquote. Enjoy!--Aphaia 23:59, 19 December 2006 (UTC)
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title: User talk:Ryanbrady


text:
User:Matt57~enwikiquote

-

title: User:Matt57~enwikiquote


text:
User talk:Elps

Welcome
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title: User talk:Elps


text:
User talk:Smritibhawana2004

Welcome
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title: User talk:Smritibhawana2004


text:
User talk:Kamaldua

Welcome
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title: User talk:Kamaldua


text:
User talk:R pool~enwikiquote

Welcome
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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 R pool. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name R pool~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.

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Yours, Keegan Peterzell Community Liaison, Wikimedia Foundation 23:32, 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) 05:55, 19 April 2015 (UTC)

title: User talk:R pool~enwikiquote


text:
User talk:Jaudat~enwikiquote

Welcome
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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 Jaudat. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Jaudat~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 23:24, 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) 05:49, 19 April 2015 (UTC)

title: User talk:Jaudat~enwikiquote


text:
User talk:Amrit123~enwikiquote

Welcome
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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 Amrit123. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Amrit123~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 23:17, 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) 05:41, 19 April 2015 (UTC)

title: User talk:Amrit123~enwikiquote


text:
User talk:Housego

Welcome
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title: User talk:Housego


text:
User talk:Matrix61312

Welcome
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title: User talk:Matrix61312


text:
User talk:HavocPhysics

Welcome
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title: User talk:HavocPhysics


text:
User talk:S singh9

Welcome
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title: User talk:S singh9


text:
User talk:Jespersa

Welcome
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title: User talk:Jespersa


text:
User talk:Cowbert

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title: User talk:Cowbert


text:
User talk:Cool~enwikiquote

Welcome
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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 Cool. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Cool~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 23:20, 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) 05:44, 19 April 2015 (UTC)

title: User talk:Cool~enwikiquote


text:
User talk:Czarp90

Welcome
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title: User talk:Czarp90


text:
User talk:Mlemehdi~enwikiquote

Welcome
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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 Mlemehdi. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Mlemehdi~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 23:31, 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) 05:53, 19 April 2015 (UTC)

title: User talk:Mlemehdi~enwikiquote


text:
User talk:Geoking66~enwikiquote

Welcome
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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 Geoking66. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Geoking66~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 23:22, 17 March 2015 (UTC)

Renamed
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User talk:Lucas (usurped)~enwikiquote

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This account
Hi Lucas. I'm... Lucas! I'd like to unify this account with the other ones I already use around (en.wiki, de.wiki, fr.wiki...). I'm sysop on it.wiki. Thanks. --Lucas (talk) 08:50, 29 August 2008 (UTC)

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User talk:Joeday~enwikiquote

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User talk:Soloman23

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User talk:Tarvold~enwikiquote

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Unfortunately, your account clashes with another account also called Tarvold. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Tarvold~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.

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User talk:Peacelovewiki

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Talk:Talladega Nights: The Ballad of Ricky Bobby

Does anyone know why the theater version of the film is a bit different from the DVD? My favorite quote was "I cant control my heart rate, I gotta cougar on me!" Which was taken out in the DVD version. Thanks

"I can't control my heart rate, I got a cougar on me!" wasn't featured in the theatrical version of the film; it was only in the trailer. El Diablo 18:43, 20 December 2006 (UTC)

The car Reese Bobby drove
What make and model car was it? Thanks, Kathy H.

The car he drove looks to me like a buick skylark early 70's model

chevelle

This article
This article is ridiculous and nothing like any other movie entry. Someone needs to fix it.

Revert this someone please
wiki's engine hates my editing (not comfortable with it) so, I'd like someone to edit this back.

chevelle


text:
User:Mcsharma25

an astrologer-~- vastu vid[art of better & peaceful living]-~- palmist[reading of palm lines & signs with respect to life & prospects]-~- bhakti yog guide[spirituality]-~- subjective on the human life & nature-~- engineer Hi-Life wants to tell some thing from the inner folder to whom soever wish to know about it that what so ever we do here it counts here as well as here after. It is life -a never ending process,we are a party to it-what so ever we do here, good or bad- we are bound to receive the same in a bit different form sooner or later. Better to be wise now than to be embarrassed at a later date.

Our devotional spirit -prayers-good act counts well here & here after too. What ever time we spend in prayer,that much time is further added to our life-this is a fact. We attach our expectation with our prayer some time that takes us to a bit far from prayer. Our selfless prayers brings better result than that of the earlier one. But rest assured that every prayer we make is counted well. We receive the fruits of prayer for sure at appropriate time.

What ever we earn-we never use the same for self-like wise we earn specific amount,out of which some goes to self, some goes to wife, some goes to children, some goes to parents, some goes to house, some goes to society, some goes to charity, some goes to savings for future, some goes to state as tax--like wise whatever we earn through prayers get distributed in same pattern and some times we feel inappropriate results of our prayer because of the pattern formulated by nature but God never keeps any thing as such he returns with interest but to all concerned attached to us in various forms at respective time-some time he keeps the reflect for some future bad time to counter that. So be sure every thing counts & gets paid too but on right time. So have some time for your beloved god & his prayer which in fact pays you more than any other act.

Please thank you very much for being with me on the blog. Thanks a lot.

mahesh sharma

title: User:Mcsharma25


text:
Kazimir Malevich

Kazimir Severinovich Malevich (23 February 1879 – 15 May 1935) was a painter, art theoretician, pioneer of geometric abstract art, and one of the most important members of the Russian avant-garde. He was also the founder of the art movement Suprematism.

1910s

 * We have rejected reason because we have found another reason that could be called trans-rational, which has its own law, construction, and sense.. .This reason has found a way-Cubism-of expressing the object.
 * letter to the composer Matiushin, June 1913; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 266

 * The rectangular picture-plane indicates the starting point of Suprematism; a new realism of color conceived as non-objective creation. The forms of Suprematist art live like all the living forms of nature. This is a new plastic realism, plastic precisely because the realism of hills, sky, and water is missing. Every real form is a world. And any plastic surface is more alive than a (drawn or painted) face from which stares a pair of eyes and a smile. [1914]
 * cited in Artists on Art; from the 14th – 20th centuries, ed. Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 452

 * ..[to gather] under a new banner.. ..[that the poets of yesterday's Futurism ] change the means of battle with thought, content, and logic..  ..advance Alogism after Futurism.
 * Nov. 1915; as cited by Vasilii Rakitin, in The great Utopia - The Russian and Soviet Avant-Garde, 1915-1932; Guggenheim Museum, New York, 1992, p. 26

 * Dynamism is also the forming formula for Futurists works; i.e. dynamism is the additional element that transforms the perception of one state of phenomena to another, for example, from a static to a dynamic perception.
 * c. 1915 in 'Cubofuturism', Malevich, in his Essays on Art, op. cit., vol 2; as quoted in Futurism, ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 59

 * There is movement and movement. There are movements of small tension and movements of great tension and there is also a movement which our eyes cannot catch although it can be felt. In art this state is called dynamic movement. This special movement was discovered by the futurists as a new and hitherto unknown phenomenon in art, a phenomenon which some Futurists were delighted to reflect.
 * c. 1915, in: 'Cubofuturism', Malevich, in his Essays on Art, op. cit., vol 2; as quoted in Futurism, ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 59

 * Balla, he advanced Dynamic Futurism.. ..drawing closer, not to the human body but to the machine, as contemporary muscles of a man of today..  .The actual structure of each of Balla's works tells us that the dynamic power sensed by the artist is incomparable greater than the actual bodies of the machines, and the content of each machine is only a small part of this dynamic power, since each machine is a mere unit from the sum total of the forces of contemporary life.
 * c. 1915 in: 'Cubofuturism', Malevich, in Essays on Art, op. cit., vol 2; as quoted in Futurism, ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, pp. 59-60

 * Papuans bored, but Cottage second-class Ticket. Park. Arch.
 * Jan. 1916, from his letter to Mikhail Matiushin; private archive, Frankfurt (transl. Todd Bludeau); as quoted by Vasilii Rakitin, in The great Utopia - The Russian and Soviet Avant-Garde, 1915-1932; Guggenheim Museum, New York, 1992, p. 26
 * Malevich' example of the new poetic structures (the 3 lines loosely match his painting 'Stantsiia bez ostanovki Kuntsevo' (Through Station: Kuntsevo), 1913)

 * I possess only a single bare, frame-less icon [his Squares ] of our times (like a pocket), and it is difficult to struggle. But my happiness in not being like you [ Aleksandr Benois ] will give me the strength to go further and further into the empty wilderness. For it is only there that transformation can take place. And I think you are mistaken when you say in reproaching me that my philosophy will destroy millions of lives. Are you not, all of you, like a roaring blaze that obstructs and prevents any forward movement?
 * 'Letter from K. Malevich to art-critic Aleksandr Benois', May 1916; by Jane A, Sharp, in Chapter 'The Critical Reception of the 0. 10 Exhibition: Malevich and Benua', in The great Utopia - The Russian and Soviet Avant-Garde, 1915-1932; Guggenheim Museum, New York, 1992, p. 44

 * I transformed myself in the zero of form and emerged from nothing to creation, that is, to Suprematism, to the new realism in painting – to non-objective creation.
 * November 1916, in: 'From Cubism and Futurism to Suprematism: The New Realism in Painting'

 * At the present time man's path lies through space, and Suprematism is a colour metaphor in its infinite abyss. [1916]
 * 'On space and Suprematism', Kasimir Malevich, 1916; as cited in Abstract Art, Anna Moszynska, Thames and Hudson, London 1990, p. 58

 * ..the art of futurism.. ..achieved great momentum in the first quarter of the Twentieth Century and remains a basic stimulus in the following forms of new art: Suprematism, Simultaneism, Purism, Odorism, Pankinetism, Tactilism, Haptism, Expressionism, and Légerísm [referring to Fernand Léger in the last ...ism, mentioned]
 * In: 'Cubofuturism', Malevich, in Essays on Art, op. cit., vol 2; as quoted in Futurism, ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 59
 * The square is not a subconscious form. It is the creation of intuitive reason. The face of the new art. The square is a living, regal infant.  The first step of pure creation in art.
 * 'From Cubism and Futurism to Suprematism: The New Realism in Painting', Kazimir Malevich, November 1916

 * Matiushin's sound [composer of the Futurist opera: 'Victory over the Sun', Malevich did the stage design] shattered the object-word. The curtain was torn, by the same token tearing the scream of consciousness of the old brain. [1917]
 * as quoted in Futurism, ed. By Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 266

 * ..[that] the overturning of the old world of arts will be etched across your 'palms' (recto)
 * admonition from the cover of Malevich's 'novykh sistemakh v iskusstve' (Vitebsk: Unovis, 1919); the cover is reproduced in Malevich: Suprematism and Revolution in Russian Art, Larissa A. Zhadova, (trans. Alexander Lieven); London: Thames and Hudson, 1982
 * the notice on the verso reads: 'Work and edition by the workshop [artef] of artistic labor at the Vitebsk Svomas'

 * Everywhere there is craft and technique, everywhere there is artistry and form. Art itself, technique, is ponderous and clumsy, and because of it awkwardness it obstructs that inner element.. .All craft, technique, and artistry, like anything beautiful, results in futility and vulgarity. [critical quote on Constructivism artists]
 * In: 'On poetry'; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 65

 * It is the experience of the speed of a plane, which was looking for an expression, a form and this caused the plane to come into existence. The plane was not built to take letters from Berlin to Moscow, but to give expression to the irresistible urge to create a form for the experience of speed.
 * As quoted in: Richtingen in de hedendaagsche schilderkunst (Trends in the Present Day Art of Painting), Jacob Bendien - W.L. & J Brusse, Rotterdam,1936, p. 100 (transl. Anne Porcelijn)

 * Only when the habit of one's consciousness to see in paintings bits of nature, Madonna's and shameless nudes.. ..has disappeared, shall we see a pure painting composition. I have transformed myself into the nullity of forms and pulled myself out of the circle of things, out of the circle-horizon in which the artist and forms of nature are locked.
 * as quoted in: Marc Chagall, – a Biography, Sidney Alexander, Cassell, London, 1978, p. 178

 * I have broken the blue boundary of color limits, come out into the white, besides me comrade-pilots swim in this infinity. I have established the semaphore of Suprematism. I have beaten the lining of the colored sky, torn it away and in the sack that formed itself, I have put color and knotted it. Swim! The free white sea lies before you.
 * In the 'Catalogue 10th State Exhibition', Kasimir Malevich, Moscow, 1919; as quoted in Autocritique, – essays on art and anti-art 1963 – 1987, Barbara Rose, Weidenfeld & Nicolson, New York, 1988, p. 71

1920s

 * Man's skull represents the same infinity for the movement of conceptions. It is equal to the universe, for in it is contained all that sees in it. Likewise the sun and whole starry sky of comets and the sun pass in it and shine and move as in nature.. .Is not the whole universe that strange skull in which meteors, suns, comets, and planets rush endlessly?
 * 'God is not cast down', Malevich, 1922; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 65

 * I paint energy, not the soul.
 * Malevich, 1924, in: 'Khudozhniki na dispute ob AKhRR', in 'Zhizn,' iskusstva 6 (transl. Todd Bludeau); as quoted by Vasilii Rakitin, in The great Utopia - The Russian and Soviet Avant-Garde, 1915-1932; Guggenheim Museum, New York, 1992, p. 27

 * I recommend [the students] that you should work actively at the Hermitage and study the artistic structures of Rubens, Rembrandt, Titian, Watteau, Poussin, and other painters, even Chardin, where he is an artist. Study very closely their dabbing manner of execution and try to copy a small piece of canvas, just one square inch.
 * letter of Malevich to his student Yudin, summer of 1924; as quoted in Marc Chagall – the Russian years 1906 – 1922, ed. By Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 66

 * By Suprematism I mean the supremacy of pure feeling in creative art. To the Suprematist the visual phenomena of the objective world are, in themselves, meaningless; the significant thing is feeling.
 * In 'The Non-Objective World: The Manifesto of Suprematism', 1926; trans. Howard Dearstyne [Dover, 2003, ISBN 0-486-42974-1], 'part II: Suprematism', p. 67
 * When, in the year 1913, in my desperate attempt to free art from the ballast of objectivity, I took refuge in the square form and exhibited a picture which consisted of nothing more than a black square on a white field. The critics and, along with them, the public sighed, 'Everything which we loved was lost. We are in a desert.. .Before us is nothing but a black square on a white background!' But the desert is filled with the spirit of non-objective feeling..  ..which penetrates everything.
 * In 'The Non-Objective World: The Manifesto of Suprematism', 1926; trans. Howard Dearstyne [Dover, 2003, ISBN 0-486-42974-1], 'part II: Suprematism', p. 68

 * The world as a sense, independent of the image, of the idea - this is the essence of the content of art. [My] square is not an image, just as a switch or socket are not the current. - Malevich
 * Malevich, in his letter to Konstantin Rozhdestvenskii, 21 April, 1927, private archive, Moscow (transl. Todd Bludeau); as quoted by Vasilii Rakitin, in The great Utopia - The Russian and Soviet Avant-Garde, 1915-1932; Guggenheim Museum, New York, 1992, p. 27

 * By Suprematism, I mean the supremacy of pure feeling in the pictorial arts. From the Suprematist point of view, the appearances of natural objects are in themselves meaningless; the essential thing is feeling – in itself and completely independent of the context in which it has been evoked. Academic naturalism, the naturalism of the impressionists, of Cézannism, of Cubism, etc., are all so to speak nothing but dialectic methods, which in themselves in no way determine the true value of the work of art.
 * Malevich, 1927 in: Artists on Art; from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 451
 * Malevich valued Cezanne's art as a temporarily necessary but still 'provincial art' in the long developing line of modern art

 * The representation of an object, in itself (the objectivity as the aim of the representation), is something that has nothing to do with art, although the use of representation in a work of art does not rule out the possibility of its being of a high artistic order. For the Suprematist, therefore, the proper means is the one that provides the fullest expression of pure feeling and ignores the habitually accepted object. The object in itself is meaningless to him; and the ideas of the conscious mind are worthless. Feeling is the decisive factor.. ..and thus art arrives at non-objective representation – at Suprematism.
 * Malevich, 1927 in Artists on Art; from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 452

 * Tatlin does not transcend the confines of Cubism.
 * c. 1928, in 'The Constructive Painting of Russian Artists and Constructivism', in K. S. Malevich, Essays on Art, ed. Troels Andersen, (transl. Xenia Glowacki-Prus & Arnold McMillin), London: Rapp & Whiting, 1969, vol. 2, pp. 74-84
 * Malevich asked his students and followers to repeat this short sentence after him, during his teachings

 * I have not invented anything, only the night I have sensed, and in it the new which I called Suprematism.
 * Dokumente zum Verständnis der modernen Malerei, Walter Hess, (Hamburg, 1956), p. 98

 * I too was filled with a sort of shyness and fear, as I was called to leave 'the world of will and idea' in which I had lived and created, and in whose reality I had believed. But the happy liberating touch of non-objectivity drew me out into the 'desert' where only feeling is real.. ..and so feeling became the content of my life. It was no 'empty square' I had exhibited but the feeling of non-objectivity. I perceived that the 'thing' and the 'idea' were taken to be equivalents of feeling, and understood the lie of the world of will and idea. Is the milk bottle the symbol of milk? Suprematism is the rediscovery of that pure art which in the course of time, and by an accretion of 'things', had been lost to sight.
 * Artists on Art; from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, p. 453

 * The principal element of Suprematism in painting, as in architecture, is its liberation from all social or materialist tendencies. Through Suprematism art comes into its pure and unpolluted form. It has acknowledged the decisive fact of the nonobjective character of sensibility. It is no longer concerned with illusion.
 * Marc Chagall, – a Biography, Sidney Alexander, Cassell, London, 1978, p. 194

1930s

 * Painting has turned back from the non-objective way to the object, and the development of painting has returned to the figurative part of the way that had led to the destruction of the object. But on the way back, painting came across a new object that the proletarian revolution had brought to the fore and which had to be given form, which means that it had to be raised to the level of a work of art.. .I am utterly convinced that if you keep to the way of Constructivism, where you are now firmly stuck, which raises not one artistic issue except for pure utilitarianism and in theater simple agitation, which may be one hundred percent consistent ideologically but is completely castrated as regards artistic problems, and forfeits half its value..  .If you go on as you are..  ..then Stanislavski will emerge as the winner in the theater and the old forms will survive. And as to architecture, if the architects do not produce artistic architecture, the Greco-Roman style of Zyeltovski will prevail, together with the Repin style in painting..
 * letter 8 April 1932, to Meyerhold, in 'Two Letters to Meyerhold', in Kunst & Museumjournaal 6, (1990), pp. 9-10; as quoted by Paul Wood in The great Utopia, - The Russian and Soviet Avant-Garde, 1915-1932; Guggenheim Museum, New York, 1992, p. 24 – note 112
 * This quote clarifies Malevich's famous return to the figuration of the Russian peasant life, in the time of forced collectivization of Russian agriculture: 'for him [= Malevich] the return to figuration was not a break with the Revolution but a way of safeguarding it and preventing the return of Classicism and Naturalism' (Paul Wood in The great Utopia; Guggenheim Museum, New York, 1992, p. 24 – note 112)

Quotes about Kazimir Malevich

 * Without a doubt, this [Malevich' painting Black Square ] is the 'icon' which the [Russian] Futurists propose as a replacement for the Madonnas and shameless Venuses [besstyzhie venery]; it is that 'dominion' [gospodstvo] of forms over nature..  ..[in Malevich's system, at the base of which lies a] horrific means of mechanical 'renewal' [mekhanicheskoe 'vosstanovlenie'] with its machinishness.
 * Benua, c. 1913; as cited by Jane A, Sharp, in 'The Critical Reception of the 0. 10 Exhibition: Malevich and Benua', in The great Utopia - The Russian and Soviet Avant-Garde, 1915-1932; Guggenheim Museum, New York, 1992, p. 42

 * [This] is not a chance little episode that occurred on the Field of Mars; it is one of the acts of self-affirmation the source of which has as its name the abomination of desolation. It [Malevich' Suprematist paintings] asserts itself through arrogance, haughtiness, and by trampling over all that is dear and tender; it will lead only to death.
 * Benua, Late 1913; as cited by Jane A, Sharp, in 'The Critical Reception of the 0. 10 Exhibition: Malevich and Benua', in The great Utopia - The Russian and Soviet Avant-Garde, 1915-1932; Guggenheim Museum, New York, 1992, p. 44

 * Long live Unovis - the path to a Suprematist future - and long live Kazimir Malevich, the true guide along this path!
 * one of Malevich's art-students in Vitebsk, c. 1920; from a private archive, St. Petersburg; as cited by Vasilii Rakitin, in The great Utopia - The Russian and Soviet Avant-Garde, 1915-1932; Guggenheim Museum, New York, 1992, p. 30

 * For us [the young artists in Vitebsk, 1920] Suprematism did not signify the recognition of an absolute form which was part of an already completed universal system, on the contrary; here stood revealed for the first time in all its purity the clear sign and plan for a definite new world never before experienced - a world which issues forth from our inner being and which is only now in the first stages of its formation, for this reason the square [Malevich's] Black and Red Square ] of suprematism became a beacon.
 * El Lissitzky, from his essay of 1920, 'Suprematism in World Reconstruction'; as cited by Sophie Lissitzky-Küppers, in El Lissitzky: Life, Letters, Texts, trans. Helene Aldwinckle and Mary Whittall (Greenwich, Conn.: New York Graphic Society, 1968), p. 327

 * This is the model we await from Kasimir Malevich. AFTER THE OLD TESTAMENT THERE CAME THE NEW AFTER THE NEW THE COMMUNIST AND AFTER THE COMMUNIST THERE FOLLOWS FINALLY THE TESTAMENT OF SUPREMATISM.
 * El Lissitzky in 'Suprematism in World Reconstruction', 1920; as cited in Russian Art of the Avant-Garde: Theory and Criticism 1902-1934, ed. John E. Bowlt,Viking Press, 1976 p. 151 – 158
 * In this text 'Suprematism in World Reconstruction' Suprematism is postponed by El Lissitsky in a far wider concept than Malevich meant.

 * At present there is an extremely exaggerated formation of groups [students on the 'School of Art' in Vitebsk, founded by Chagall around 'trend'; there are 1. young people following Malevich and 2. young people following me. We both belong to the left-wing artistic movement, although we have different ideas about ends and means.
 * Marc Chagall (1920), in his letter to Pavel Davidovitch Ettering, 2 April, 1920, as cited in Marc Chagall - the Russian years 1906 – 1922, editor Christoph Vitali, exhibition catalogue, Schirn Kunsthalle Frankfurt, 1991, p. 73

 * Painting.. ..turned to the design of purely abstract volumetric forms.. .Since the leading exponent of the color theory was a painter (Malevich), he failed to recognize the objective reality of the world [in architecture!]. Because he always looked at it only through his own eyes, he remained trapped in a world devoid of real objects. The broader implications of this had to be developed by us, the architects.
 * El Lissitzky in: Chapter 'Basic Premises', in Rußland: Die Rekonstruktion der Architektur in der Sowjetunion, Moscow 1929; as cited in: 'Interrelationships Between the Art, in: An Architecture for World Revolution', transl. Eric Dluhosch - MIT Press. Cambridge, MA: 1970

 * Typical for the difference between both art movements [Russian Suprematism & Constructivism (art) ] is that Malevich wrote a book entitled 'Gegenstandlose Welt' [World without objects / things]. Whilst El Lissitsky specifically mentioned Gegenstand (object!) in the magazine he published with Ilya Ehrenburg.
 * Jacob Bendien (1936), in Richtingen in de Hedendaagsche schilderkunst (Trends in the Present Day Art of Painting), Jacob Bendien; W.L & J. Brusse N.V. Rotterdam, 1935 (transl. Anne Porcelijn), p. 100

 * The Suprematists want, where possible, to give 'feelings' absolute supremacy. Even objects such as tables, chairs and beds are, according to Malevich, 'not objects but the form of plastic perceptions'.. .'The experience of sitting, standing or walking are, in the first place plastic experiences'.
 * Jacob Bendien (1936), in Richtingen in de Hedendaagsche schilderkunst (Trends in the Present Day Art of Painting), Jacob Bendien; W.L & J. Brusse N.V. Rotterdam, 1935 (transl. Anne Porcelijn), p. 101

 * From the beginning of the [Sovjet] Revolution I was a member of the Committee for Art.. .Later I worked at 'Izo Narkomprosa'. From 1919 I taught at the Higher Artists' Workshops in Vitebsk [the 'Vitebsk Higher Institute of Art', where El Lissitsky and Kazimir Malevich were invited to teach art by the director then Marc Chagall ] (our students Suetin, Judin and others).
 * El Lissitzky in: 'Autobiography of the artist', 1941; as cited in 'El Lissitzky', ed. Henk Puts - A Catalogue of his Work, in the Stedelijk Van Abbe Museum, Eindhoven; the Lissitzky-archives in the Van Abbe Museum, 1991

 * White was for Malevich the color of infinity, and signified a realm of higher feeling.. ..an utopian world of pure form, attainable only through nonobjective art. Indeed, he named his theory of art Suprematism to signify 'the supremacy of pure feeling or perception in the pictorial arts'; and pure perception demanded that a picture's forms 'have nothing in common with nature.' Malevich imagined Suprematism as a universal language that would free viewers from the material world.
 * Quote from the publication excerpt, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 85

 * In political terms, a question remains: what did it mean that Malevich turned again to depictions of peasant life at precisely the time of the forced collectivization of agriculture and the 'liquidation of the kulaks as a class', as Stalinist rhetoric chillingly has it? Whatever the answer to this question, a recently published letter of April 8, 1932, from Malevich to Vsevolod Meierhold makes clear that for him the return to figuration was not a break with the Revolution but a way of safeguarding it and preventing the return [in painting art] of Classicism and Naturalism.
 * Paul Wood in The great Utopia, - The Russian and Soviet Avant-Garde, 1915-1932; Guggenheim Museum, New York, 1992, p. 24 – note 112

 * Malevich, with his strikingly developed social instinct, once again attempted to outdo everyone upon his release from jail (after having been arrested in Kiev in 1930). In an ordinary composition of colored stripes he included a row of galloping cavalrymen. You want a 'Soviet' picture - here, take it! Many artists, incidentally, made similar gestures during these years when the "Soviet theme: painting" was affirmed as the basis of Soviet art. Malevich did not gain much by such a strategy and he resorted to it extremely rarely. It didn't help at all. One of his students still has a letter to Malevich (it arrived one day after his death) notifying him that his request for a pension had been turned down.
 * Vasilii Rakitin, in The great Utopia - The Russian and Soviet Avant-Garde, 1915-1932; Guggenheim Museum, New York, 1992, p. 35

 * In one of his letters from Vitebsk to David Shterenberg in Moscow - a letter written in 1921, when the organization of the Erste russische Kunstausstellung (First Russian Art Exhibition, Berlin, 1922) was only beginning to be discussed - Malevich took pains to emphasize that he was an ideological worker in art. And that the Berlin exhibition would be of interest to him only if his "icons" - the Black Square, Chernyi krug (Black Circle), and Chernyi krest (Black Cross) - were exhibited. And exhibited only, moreover, under the rubric 'Suprematizm Rossiia'. 1913 (Suprematism: Russia, 1913). Nineteen thirteen?. ..Malevich, who was a genius at hypnosis, convinced not only everyone else but even himself that he had inaugurated Suprematism in 1913 - and not in any other year. His account of his own career is full of datings of works according not to the year in which they were produced but the year in which they were conceived.
 * Vasilii Rakitin, in The great Utopia - The Russian and Soviet Avant-Garde, 1915-1932; Guggenheim Museum, New York, 1992, p. 29

title: Kazimir Malevich


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User talk:Larytet

Hi. Welcome to English Wikiquote. Enjoy! Fys. “Ta fys aym”. 12:04, 20 December 2006 (UTC)
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I'm afraid I've got concerns about the suitability of this page. Please visit Votes for deletion to comment. Fys. “Ta fys aym”. 12:04, 20 December 2006 (UTC)

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Talk:They Might Be Giants

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 * "Everything Right Is Wrong Again", unidentified variant version (apparently not from They Might Be Giants (1986))

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title: User talk:168.169.233.115