text:
Catharine A. MacKinnon

Catharine Alice MacKinnon (born 7 October 1946) is an American radical feminist, scholar, lawyer, teacher, and activist.

Feminism, Marxism, Method, and the State: An Agenda for Theory (1982) Signs Vol. 7, No.3

 * Women and men are divided by gender, made into the sexes as we know them, by the social requirements of heterosexuality, which institutionalizes male sexual dominance and female sexual submission.
 * p. 533

Feminism, Marxism, Method, and the State: Toward Feminist Jurisprudence (1983) Signs Vol. 8 No. 4

 * ”Perhaps the wrong of rape has proven so difficult to articulate because the unquestionable starting point has been that rape is definable as distinct from intercourse, when for women it is difficult to distinguish them under conditions of male dominance.”
 * p. 647

Feminism Unmodified: Discourses on Life and Law (1987)

 * Stopped as attribute of a person, sex inequality takes the form of gender; moving as a relation between people, it takes the form of sexuality. Gender emerges as the congealed form of the sexualization of inequaltiy between men and women.
 * "Introduction - The Art of the Impossible", p. 6

 * Politically, I call it rape whenever a woman has sex and feels violated. You might think that's too broad. I'm not talking about sending all of you men to jail for that. I'm talking about attempting to change the nature of the relations between women and men by having women ask ourselves: "Did I feel violated?" To me, part of the culture of sexual inequality that makes women not report rape is that the definition of rape is not based on our sense of our violation.
 * "A Rally Against Rape" (1981), p. 82

 * Men who are in prison for rape think it's the dumbest thing that ever happened... It isn't just a miscarriage of justice; they were put in jail for something very little different from what most men do most of the time and call it sex. The only difference is they got caught. That view is nonremorseful and not rehabilitative. It may also be true. It seems to me we have here a convergence between the rapist's view of what he has done and the victim's perspective on what was done to her. That is, for both, their ordinary experiences of heterosexual intercourse and the act of rape have something in common.  Now this gets us into intense trouble. because that's exactly how judges and juries see it who refuse to convict men accused of rape.  A rape victim has to prove that it was not intercourse. She has to show that there was force and she resisted, because if there was sex, consent is inferred.  Finders of fact look for "more force than usual during the preliminaries." Rape is defined by distinction from intercourse—not nonviolence, intercourse.  They ask, does this even look more like fucking or like rape? But what is their standard for sex, and is this question asked from the woman's point of view? The level of force is not adjudicated at her point of violation; it is adjudicated at the standard of the normal level of force.  Who sets this standard?"
 * "Sex and Violence: A Perspective" (1981), p. 88

 * In all these situations, there was not enough violence against them to take it beyond the category of "sex"; they were not coerced enough.
 * "Sex and Violence: A Perspective" (1981), p. 88

 * In my opinion, no feminism worthy of the name is not methodologically post-marxist.
 * "Desire and Power: A Feminist Perspective" (1983), p. 60

 * To be a prisoner means to be defined as a member of a group for whom the rules of what can be done to you, of what is seen as abuse of you, are reduced as part of the definition of your status.
 * "Francis Biddle's Sister: Pornography, Civil Rights, and Speech" (1984), p. 170

 * Show me an abuse of women in society, I'll show it to you made sex in the pornography. If you want to know who is being hurt in this society, go see what is being done and to whom in pornography and then go look for them other places in the world. You will find them being hurt in just that way.
 * "Francis Biddle's Sister: Pornography, Civil Rights, and Speech" (1984), p. 188

 * We are stripped of authority and reduced and devaluated and silenced. Silenced here means that the purposes of the First Amendment, premised upon conditions presumed and promoted by protecting free speech, do not pertain to women because they are not our conditions. Consider them: individual self-fulfillment – how does pornography promote our individual self-fulfillment? How does sexual inequality even permit it? Even if she can form words, who listens to a woman with a penis in her mouth?
 * "Francis Biddle's Sister: Pornography, Civil Rights, and Speech" (1984), p. 193

Sexuality, Pornography, and Method: "Pleasure under Patriarchy" (1989) Ethics, Vol. 99, No. 2 pp. 314-346

 * Compare victims' reports of rape with women's reports of sex. They look a lot alike

 * the major distinction between intercourse (normal) and rape (abnormal) is that the normal happens so often that one cannot get anyone to see anything wrong with it.

 * Male sexuality is apparently activated by violence against women and expresses itself in violence against women to a significant extent.

 * Women fake vaginal orgasms, the only 'mature' sexuality, because men demand that they enjoy vaginal penetration.

 * Nor is homosexuality without stake in this gendered sexual system. Putting to one side the obviously gendered content of expressly adopted roles, clothing, and sexual mimicry, to the extent the gender of a sexual object is crucial to arousal, the structure of social power that stands behind and defines gender is hardly irrelevant, even if it is rearranged.

 * Some have argued that lesbian sexuality-meaning here simply women having sex with women not men-solves the problem of gender by eliminating men from women's voluntary sexual encounters. Yet women's sexuality remains constructed under conditions of male supremacy; women remain socially defined as women in relation to men; the definition of women as men's inferiors remains sexual even if not heterosexual, whether men are present at the time or not.

Reflections on Sex Equality under Law (1991) Yale Law Journal Vol.100 No. 5

 * "Women are raped and coerced into sex."
 * p. 1213

 * “Women are socially disadvantaged in controlling sexual access to their bodies through socialization to customs that define a woman's body as for sexual use by men. Sexual access is regularly forced or pressured or routinized beyond denial.”
 * p. 1212

Toward a Feminist Theory of the State (1991)
Originally published in: (1982) "Feminism, Marxism, Method, and the State: An Agenda for Theory" Signs: Journal of Women in Culture and Society 7(3):515–44

 * Objectivity is the methodological stance of which objectification is the social process. Sexual objectification is the primary process of the subjection of women. It unites act with word, construction with expression, perception with enforcement, myth with reality. Man fucks woman; subject verb object.

Only Words (1993)

 * Imagine that for hundreds of years your most formative traumas, your daily suffering and pain, the abuse you live through, the terror you live with, are unspeakable — not the basis of literature. You grow up with your father holding you down and covering your mouth so another man can make a horrible searing pain between your legs.… You learn how to leave your body and create someone else who takes over when you cannot stand it any more. You develop a self who is ingratiating and obsequious and imitative and aggressively passive and silent — you learn, in a word, femininity.
 * pp. 3-7

 * Empirically, all pornography is made under conditions of inequality based on sex, overwhelmingly by poor, desperate, homeless, pimped women who were sexually abused as children.
 * p. 20

Are Women Human?: and Other International Dialogues (2006)

 * So the idea that there is nothing essential, in the sense that there are no human universals, is dogma. Ask most anyone who is going to be shot at dawn.
 * "Postmodernism and Human Rights" (2000), p. 53

 * What postmodernism gives us instead is a multicultural defense for male violence - a defense for it wherever it is, which in effect is a pretty universal defense.
 * "Postmodernism and Human Rights" (2000), p. 54

 * Can postmodernism hold the perpetrators of genocide accountable?
 * "Postmodernism and Human Rights" (2000), p. 58

 * Postmodernism is an academic theory, originating in academia with an academic elite, not in the world of women and men, where feminist theory is rooted.
 * "Postmodernism and Human Rights" (2000), p. 62

Misattributed

 * All sex, even consensual sex between a married couple, is an act of violence perpetrated against a woman.
 * The allegation that Catharine MacKinnon equated sex with rape, or suggested that all sex is hostile, seems to have been first made in the October 1986 issue of Playboy. Catharine MacKinnon has denied ever saying anything of the kind.
 * Instead MacKinnon asserts that rape and intercourse are "difficult to distinguish" (1983), and that "the major distinction between intercourse (normal) and rape (abnormal) is that the normal happens so often that one cannot get anyone to see anything wrong with it" (1989).

 * In a patriarchal society all heterosexual intercourse is rape because women, as a group, are not strong enough to give meaningful consent.
 * These words were quoted by the conservative writer Cal Thomas as coming from Professing Feminism, a book by Daphne Patai and Noretta Koertge which he mistakenly ascribed to Catharine MacKinnon. The actual passage in that book are the authors' characterization of MacKinnon's views rather than a direct quotation:
 * And Andrea Dworkin and Catharine MacKinnon have long argued that in a patriarchal society all heterosexual intercourse is rape because women, as a group, are not in a strong enough social position to give meaningful consent—an assault on individual female autonomy uncannily reminiscent of old arguments for why women should not have political rights.
 * Instead MacKinnon argues that heterosexuality "institutionalizes male sexual dominance and female sexual submission" (1982) and that "Sexual access is regularly forced or pressured or routinized beyond denial" (1991).

 * Feminism, Socialism, and Communism are one in [sic] the same, and Socialist/Communist government is the goal of Feminism.
 * Falsely attributed to Toward a Feminist Theory of the State (First Harvard University Press, 1989), p. 10 in "Waste, Fraud, and Abuse: Hearing Before the Committee on Ways and Means", US House of Representatives,, and spread on the Internet.
 * Probably based on the quotation opening Chapter 1: "Marxism and feminism are one, and that one is Marxism." — Heidi Hartmann and Amy Bridges, "The Unhappy Marriage of Marxism and Feminism"

About MacKinnon

 * In the 1980s, Ellen Willis led the so-called pro-sex radical feminists in their heated challenge to the antipornography movement. Countering the arguments of Andrea Dworkin, Catharine MacKinnon, and others that "sexual liberation is a male supremacist plot, Willis proclaimed that sexual liberation was the keystone of broader social and cultural change.
 * Joyce Antler Jewish Radical Feminism: Voices from the Women’s Liberation Movement (2020)

 * I find myself again cut off, babbling "buts." I find myself then, also, drawn to Catharine MacKinnon's eloquent "discourses on life and law," in which she argues that viewing gender as a matter of sameness and difference covers up the reality of gender as a system of power, hierarchy, and privilege, of imposed inequality. The point is that more than one thing is true for us at the same time.
 * Bettina Aptheker Tapestries of Life: Women's Work, Women's Consciousness, and the Meaning of Daily Experience (1989)

 * "Sometimes I wonder if MacKinnon has simply been driven mad by all the sick things people do to one another. I, too, recoil in pain and incomprehension whenever I hear about the latest psychopath who has shot his mother, machine-gunned his coworkers, raped his daughter, or slashed a prostitute. I notice that such men are more likely to have read the bible than pornography, but I do not hold either script responsible for their actions."
 * "The Prime of Miss Kitty MacKinnon", by Susie Bright, East Bay Express, October 1993.

 * "Sexual speech, not MacKinnon's speech, is the most repressed and disdained kind of expression in our world, and MacKinnon is no rebel or radical to attack it."
 * "The Prime of Miss Kitty MacKinnon", by Susie Bright, East Bay Express, October 1993.

 * "She ends her letter, characteristically, by picturing me and her other critics as indifferent to the suffering of women. But many feminists, including several who wrote or spoke to me about my review, regret her single-minded concentration on lurid sex. They think that though it has predictably attracted much publicity, it tends to stereotype women as victims, and takes attention from still urgent questions of economic, political, and professional equality."
 * "Pornography: An Exchange", response by Ronald Dworkin to Catherine Mackinnon, New York Review of Books 41(5), March 3, 1994.

 * "Perhaps MacKinnon should reflect on these suggestions that the censorship issue is not so simple-minded, so transparently gender-against-gender, as she insists. She should stop calling names long enough to ask whether personal sensationalism, hyperbole, and bad arguments are really what the cause of sexual equality now needs."
 * "Pornography: An Exchange", response by Ronald Dworkin to Catherine Mackinnon, New York Review of Books 41(5), March 3, 1994.

 * "Don’t even get me started on MacKinnon... Now I’d just look at her and shake my head and go, “tsk tsk tsk,” and say, “You know what, I’m really sorry you are that bitter and angry,” cuz that’s what it is. It’s her fuel. It’s what drives her. It’s not that she is not smart, but I do believe she is deluded, and I do believe anger and fear and jealousy and resentment and frustration and out-and-out prudery are what drive her, are her motivating forces... MacKinnon really does feel like she is helping women, while at the same time, she and Dworkin and their ilk silence women. They won’t listen to our stories, our truths."
 * Nina Hartley, interviewed in Bust Guide to the New Girl Order (1999)

 * In her brilliant study Sexual Harassment of Working Women: A Case of Sex Discrimination, Catharine A. MacKinnon delineates the intersection of compulsory heterosexuality and economics.
 * Adrienne Rich Blood, Bread, and Poetry (1986)

title: Catharine A. MacKinnon


text:
Father of the Bride (1991 film)

Father of the Bride is a 1991 film about a father of a young woman who deals with the emotional pain of her getting married, and the financial and organizational pain of arranging her wedding. The film is a remake of the 1950 film Father of the Bride.
 * Directed by Charles Shyer. Written by Frances Goodrich, Albert Hackett, Nancy Meyers, and Charles Shyer.

Love is wonderful. Until it happens to your only daughter. taglines

George Banks

 * I used to think a wedding was a simple affair. A boy and girl meet, they fall in love, he buys a ring, she buys a dress, they say "I do." I was wrong. That's getting married. A wedding is an entirely different proposition. I know. I've just been through one. Not my own. My daughter's. Annie Banks-MacKenzie. That's her married name. MacKenzie. I'll be honest with you. When I bought this house seventeen years ago, it cost me less than this blessed event in which Annie Banks became Annie Banks-MacKenzie. I'm told that one day I'll look back on all this with great affection and nostalgia. I hope so. You fathers will understand. You have a little girl. An adorable little girl who looks up to you and adores you in a way you could never imagine. I remember how her little hand used to fit inside mine. How she used to sit in my lap and lean her head against my chest. She said that I was her hero. Then the day comes when she wants to get her ears pierced and she wants you to drop her off a block before the movie theater. Next thing you know she's wearing eye shadow and high heels. From that moment on, you're in a constant state of panic. You worry about her going out with the wrong kind of guys, the kind of guys who only want one thing—and you know exactly what that one thing is because it's the same thing you wanted when you were their age. Then she gets a little older and you quit worrying about her meeting the wrong guy and you worry about her meeting the right guy. And that's the biggest fear of all because then you lose her. And before you know it, you're sitting all alone in a big, empty house, wearing rice on your tux, wondering what happened to your life. It was just six months ago that it happened here. Just six months ago that the storm broke.

 * We live in a small town in Southern California called San Marino. I love this town, and not just because it's the kind of place where people still smile at each other but because it hasn't changed much in the past twenty-five years. And since I'm not a guy who's big on change, this town fits me like a glove. I got Annie's ten-speed all cleaned up and polished. New seat, new tires...I couldn't wait to show it to her. This is our house. 24 Maple Drive. Annie was just in grammar school when we bought it. A few years later, we got a surprise package: our son, Matt. I love this house. I love that I taught my kids to ride their bikes in the driveway. I love that I slept with them in tents in the backyard. I love that we carved our initials in the tree out front. This house is warm in the winter, cool in the summer, and looks spectacular with Christmas lights. It's a great house. I never want to move. But the thing I think I like best about this house are the voices I hear when I walk through the door.

 * Well, that's the thing about life, is the surprises, the little things that sneak up on you and grab hold of you.

Dialogue

 * Nina: Is something going on?
 * Annie: Yes, it is, Mom...uh...God, this is a hard thing to tell parents...especially when you're my parents...Oh, God!
 * George: Honey, just say it. What's the big deal?
 * Matt: Yeah.
 * Annie: Okay! I met somebody in Rome. Um, he's an American. Uh, he's from L.A., actually. And um, his name's Bryan MacKenzie. And he's this completely wonderful, wonderful, amazing man, and...well, we starting seeing each other, a lot...and, um...we fell in love. Ha! Ha! It actually happened! And, uh, we've decided to get married...which means that, I'm engaged! Ha! I'm engaged! I'm getting married! Ha!
 * Matt: Congratulations!
 * Annie: Thank you.
 * Nina: Oh! My! My! Oh, so, oh my...and that's your engagement ring, huh?
 * Annie: Bought it from said that it's at least a hundred years old...So, Dad. Stop it. Say something.
 * George: I'm sorry. What did you say?
 * Young Annie: Dad, I met a man in Rome. And he's wonderful and brilliant, and we're getting married.
 * Annie: Mom, what's he doing?
 * Nina: George? George? George? What is it?
 * George: Well...this is...this is ridiculous! You're too young to get married!
 * Annie: Too young? Dad, I'm twenty-two. If I'm not mistaken, that's a year older than Mom was when you guys got married.
 * George: That is absolutely not true!
 * Nina: Oh, no...you're absolutely wrong.
 * George: You were this age when I married you?
 * Nina: No. I was younger. I was this age when she was born.
 * George: That...that doesn't matter. Times have changed. Your mother was mature...and twenty-two isn't what it used to be...Matt, would you turn on the air conditioner? It's hot in here. I thought...I thought you didn't believe in marriage. I thought it meant a woman lost her identity. I thought you wanted to get a job before you settled down so you could earn money and be your own person.
 * Annie: All right, hold on. I didn't think I believed in marriage until I met Bryan. Bryan's not like any other guy I've ever known. I want to be married to him. And I'm not going to lose my identity with him because he's not some overpowering, macho guy. He's like you, Dad! Except he's brilliant. He happens to love that I'm going to be an architect. He wants me to design a house for us to live in. He said he'd move anywhere I got a job. Give me a little credit, George. I'm not going to marry some ape who wants me to wear go-go boots and an apron. I'm telling you, you'll love him. He's a genius. And sweet. And I love him more than anything in the world.
 * Nina: What does Bryan do?
 * George: Who's Bryan?
 * Nina: Oh!
 * George: I forgot his name!
 * Annie: He's an independent communications consultant.
 * George: Independent?
 * Annie: Yes.
 * George: That's code for unemployed! This is perfect! You meet an unemployed, amazingly brilliant non-ape that I'm going to have to support! I suppose I'm going to have to hire him and fire some hardworking guy with three kids because my son-in-law, the "independent communications consultant," can't get a job anywhere else! No wonder he'll move anywhere you get a job! You're not getting married and that's it and that's final! And I don't like you calling me George! I mean, when did this start?
 * Annie: Daddy, what is wrong with you? [runs out]
 * George: What? Are you telling me you're happy about this?
 * Nina: George, please. Would you stop acting like a lunatic father and go out and talk to her before she runs out that door, marries this kid and we never see her again?
 * George: All right. Kid? How do you know he's a kid? He could be forty-five years old.

 * Annie: Listen, I'm going to take Bryan for a drive and show him around.
 * Nina: Okay, honey. Good.
 * George: Annie, it's a little nippy out, you might want to put on a sweater.
 * Annie: Dad, it's okay, I'm kinda warm.
 * George: Still, there's a chill in the air and you've been on a plane.
 * Annie: Dad, I'm fine.
 * Bryan: Annie, it is kinda cold out.
 * Annie: It is?
 * Bryan: Yeah.
 * Annie: All right, thanks, I'll get my jacket.
 * George: [voice-over] Right then I realized, my day had passed. She'll always love me, of course, but not in the same way. I was no longer the man in my little girl's life. I was like an old shoe. The kind we manufacture and get all excited about, then after a few years discontinue. That was me now. Mr. Discontinued.
 * Bryan: Good night. Good night, Mr. Banks.
 * Annie: Oh, you can call him George. Or Dad!
 * George: George will be fine.
 * Bryan: Okay. I'll say it next time I see you.
 * George: Drive carefully. And don't forget to fasten your condom.
 * Annie: Dad!
 * George: Seat belt! I meant...I meant seat belt.
 * Nina: Honey, I'm putting your father to bed. This has been a very big night for him.

 * George: The reason I'm asking all these questions is I have a great idea where we can have this lovely, not small, but not too big wedding.
 * Nina: You do? Where?
 * George: At our favorite restaurant. The place we've been eating at for fifteen years. The best. The Steak Pit!
 * Annie: Dad, get serious.
 * Matt: I don't think you want the word "Pit" on a wedding invitation, George.
 * Annie: Really, Dad. A rib joint with sawdust on the floor isn't exactly what I had in mind for my wedding. No offense.

 * Matty: Can I put Cameron back on the list if he promises not to eat?
 * George: You know, that's not a bad idea. Who else can we ask not to eat? My parents and your mother.
 * Annie: Why don't we just charge people? That way we can make money on the wedding? [storms off]
 * George: I was kidding!

 * George: [voice-over] I thought maybe I should help smooth things over. So I took Bryan out for a drink. Thought we could have a talk, man-to-man. But as I sat there and listened to his side of the story... I realized this was a golden opportunity. If I ever wanted to get rid of Bryan MacKenzie, this was my chance.
 * Bryan: You know those banana shakes she likes to make, right? Well, that's why I thought she'd like a blender. I guess I can see her point. I mean, a blender does suggest a certain... reference to sexual politics, but... I swear, it never entered my consciousness at the time.
 * George: I believe you.
 * Bryan: You do? Would you tell Annie that for me, Dad?
 * George: [voice-over] This was where I was gonna lower the boom. But instead, I looked into his weepy eyes and found my self saying: [to Bryan] Sure, I'll tell her.
 * Bryan: Oh, good! 'Cause I know whatever you say she'll believe.
 * George: [voice-over] Not only was I not getting rid of the kid... I now found myself talking him into staying. [to Bryan] You know, Bryan, Annie's a very passionate person. And passionate people tend to overreact at time. Annie comes from a long line of major overreactors. Me. I can definitely lose it. My mother. A nut. My grandfather. Stories about him were legendary. The good news, however, is that this overreacting... tends to get proportionately less by generation. So, your kids could be normal. [voice-over] As if that wasn't enough, I went on. [to Bryan] But on the upside, with this passion... comes great spirit and individuality... which is probably one of the reasons you love Annie.
 * Bryan: That's what I love most about her.
 * George: [voice-over] That's when it hit me like a Mack truck. Annie was just like me, and Bryan was just like Nina. They were a perfect match.

 * George: I'll tell you what I'm doing. I want to buy eight hot dogs and eight hot dog buns to go with them. But no one sells eight hot dog buns. They only sell twelve hot dog buns. So I end up paying for four buns I don't need. So I am removing the superfluous buns!
 * Clerk: Sir, you'll still have to pay for all twelve buns, they're not marked individually.
 * George: Yeah. And you want to know why? Because some big-shot over at the wiener company got together with some big-shot over at the bun company and decided to rip off the American public. Because they think the American public is a bunch of trusting nit-wits who will pay for everything they don't need rather than make a stink. Well they're not ripping of this nitwit anymore because I'm not paying for one more thing I don't need. George Banks is saying NO!
 * Clerk: Who's George Banks?
 * George: ME!

 * Nina: [coming to bail out George from the city lock-up] Hello, George.
 * George: Why do you look happy to see me in here, Nina?
 * Nina: Happy? No, no, no. I'm not happy George. You think I was happy to tell everyone that I had to come down to the city jail and bail you out for stealing hot dog buns?
 * George: I wasn't stealing...
 * Nina: Ah!
 * George: I was just...
 * Nina Banks: Ah! I'm going to have to ask you not to talk, or I'll have to call Officer What's-his-name over there. You've been more than I can handle, George. Annie's wedding is not a conspiracy against you. It's just a wedding. People have them every day in every country in the world. I know it's going to be expensive, but we don't go to Europe. We don't own fancy cars. I don't own expensive jewelry, so we can afford to have a big wedding.
 * George: Nina...
 * Nina: I'll get you out of here on one condition, Banks: that you agree to the following. Now, repeat after me. "I, George Stanley Banks..."
 * George: [Swallowing his pride] I, George Stanley Banks...
 * Nina: Promise to pull it together and act my age.
 * George: Promise to pull it together and act my age.
 * Nina: I will stop hyperventilating, rolling my eyes, unbuttoning my top collar button...
 * George: I don't unbutton my top collar...
 * Nina: Oh, no, you mean this bit here? [Motions to his collar]
 * George: I will stop hyperventilating, rolling my eyes, and unbuttoning my top collar button.
 * Nina: I will stop making faces in general, and I will certainly stop telling everyone I meet how much this wedding is costing.
 * George: I don't tell everyone how much it costs!
 * [Officer clears throat]
 * Nina: He told you, right?
 * Officer: $250 a head?
 * George: Oh, well thanks.
 * Nina: I will try to remember my daughter's feelings, and how, with every roll of my eyes, I am taking away a piece of her happiness.
 * George: I love you, Nina.
 * Nina: Just repeat the last bit.
 * George: I will try to remember my daughter's feelings, and how, with every roll of my eyes, I am taking away a piece of her happiness.
 * Nina: I love you too. Let's go home, okay?

 * Matty: Right, together. Left, together. Right, together.
 * George: Matty, you're up pretty late, aren't ya?
 * Matty: Yeah, I know I'm just practicing. I wish I didn't have to walk Mom down the aisle.
 * George: Don't worry, you'll be great.
 * Matty: Is it right, together, left or left, together, right?
 * George: Well, let's try it. Let's see, we go right together, left together. Good. Matty, I'm sorry if I've been preoccupied lately with this wedding.
 * Matty: It's ok.
 * George: Yeah, but I have, haven't I?
 * Matty: It's all right. I understand.
 * George: Yeah, but...
 * Matty: Yeah, ya have. But I haven't felt ignored or anything. Don't worry Dad. No permanent damage done.
 * George: Oh, well, good.

 * Annie: Did I wake you?
 * George: No, I was up. So what are you doing?
 * Annie: I couldn't sleep. I just kept thinking about how this was my last night in my bed...in my house...kinda like my last night as a kid. I mean, I've lived here since I was five and I feel like I'm supposed to turn in my key tomorrow. It was so strange packing up my room. You know how you have always trained me never to throw anything away. So like I have all these ratty stuffed animals and yearbooks...my old retainer...all my old magic tricks. And I actually packed it all. I just didn't want to let it go. I mean, I know I can't stay, but it's like I don't want to leave.
 * George: Well, that's the thing about life...is uh, the surprises. The little things that sneak up on you and grab hold of you. Still happens to me.
 * [It starts snowing]
 * Annie: Yikes. What is this?
 * George: I don't believe it.
 * Annie: Oh my God. Talk about surprises.
 * George: It hasn't snowed in L.A. since I was nine.
 * Annie: Mom's gonna die. What? What is that face?
 * George: No. Nothing. I was just thinking.
 * Annie: Oh, this is going to end up costing you more money.
 * George: No. Now I know I'll remember this moment for the rest of my life.

 * George: [voiceover] All I could think of was the part I had to play. Then suddenly I went blank. I had one line and I couldn't remember it. When the Reverend said, "Who presents this woman?" was I supposed to say, "That's me" or was it "I do"? I couldn't think. I felt every eye in place boring into the back of my neck, waiting for me to screw up, when suddenly, it was upon me.
 * Reverend: Who presents this woman in holy matrimony?
 * George: I do. [voiceover] Who presents this woman? This "woman." But she's not a woman, she's just a kid. And she's leaving us...I realized at that moment that I was never going to come home again and see Annie at the top of the stairs. Never going to see her again at our breakfast table in her nightgown and socks. I suddenly realized what was happening. Annie was all grown up and leaving us, and something inside began to hurt.

Taglines

 * Love is wonderful. Until it happens to your only daughter.
 * A comedy about letting go.

Cast

 * Steve Martin - George Stanley Banks
 * Diane Keaton - Nina Banks
 * Kimberly Williams - Annie Banks
 * Kieran Culkin - Matty Banks
 * George Newbern - Bryan MacKenzie
 * Martin Short - Franck Eggelhoffer
 * B.D. Wong - Howard Weinstein
 * Peter Michael Goetz - John MacKenzie
 * Kate McGregor-Stewart - Joanna MacKenzie
 * Richard Portnow - Al
 * David Pasquesi - Hanck
 * Chauncey Leopardi - Cameron
 * Eugene Levy - Singer at audition
 * Sarah Rose Karr - 7-year-old Annie

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

title: Father of the Bride (1991 film)


text:
Talk:Writing

notability, questions about quote removal

 * Well personally I like bad writing. I know this because no matter what I like, someone tells me that [it's] badly written.  I like bad acting too.
 * David Johnston,
 * is this really quoteworthy? is David Johnston "somebody"?

'''From the quotes themselves, the following are not clearly about the art/craft of writing. Should they be removed?'''
 * I've only written a tenth of what I know-- and they're already screaming.
 * Albert Camus

 * It is not a bad idea to get in the habit of writing down one's thoughts. It saves one having to bother anyone else with them.
 * Isabel Colegate

 * When a man is tired of pens, he is tired of life.
 * Stephen Overbury

 * Words are like eye glasses, blurring everything that they do not make clear.
 * Unknown

Stealing writing
I heard a quote by a fomous Author that went something like "good authors borrow ideas, the best autors steal them." If some one can find that it should be added here.

Two quotes I'm looking for..
Two quotes I'm looking for that I think should be added here. I am going to mangle these and have no idea of the sources. However they are great for the subject and one should be the mantra of every Wikiquotian.

 * 1) If something is easy to read great effort went into writing it.
 * 2) *When something can be read without effort, great effort has gone into its writing. ~Enrique Jardiel Poncela (from http://www.quotegarden.com, citation information.)
 * 3) Writing well is removing everything that isn't needed until there is nothing left to remove.

-- Greyed 21:51, 7 January 2008 (UTC)

Unsourced

 * But it takes an awful long time to not write a book!
 * Douglas Adams

 * If you can't annoy somebody with that you write, I think there's little point in writing.
 * Kingsley Amis

 * You must keep sending work out; you must never let a manuscript do nothing but eat its head off in a drawer. You send that work out again and again, while you're working on another one. If you have talent, you will receive some measure of success - but only if you persist.
 * Isaac Asimov

 * It's easy, after all, to not be a writer. Most people are not writers, and very little harm comes to them.
 * Julian Barnes

 * Inspiration is wonderful when it happens, but the writer must develop an approach for the rest of the time... The wait is simply too long.
 * Leonard Bernstein

 * About the most originality that any writer can hope to achieve honestly is to steal with good judgment.
 * Josh Billings

 * Great literature must spring from an upheaval in the author's soul. If that upheaval is not present then it must come from the works of any other author which happens to be handy and easily adapted.
 * Robert Benchley, as quoted in The Routledge Dictionary of Quotations : A Dictionary of Quotations (1987) by Robert Andrews, p. 154

 * I take the view, and always have, that if you cannot say what you are going to say in twenty minutes you ought to go away and write a book about it.
 * Lord Brabazon

 * To write well is to think well, to feel well, and to render well; it is to possess at once an intellect, soul, and taste.
 * George Louis Buffon

 * No one ever committed suicide while reading a good book, but many have tried while trying to write one.
 * Robert Byrne

 * In my writing and my thinking and my work, I've thought of myself as addressing artists and writers. The rest of the world can take it or leave it as far as I'm concerned.
 * Joseph Campbell

 * I've only written a tenth of what I know-- and they're already screaming.
 * Albert Camus

 * The important thing is that there should be a space of time, say four hours a day at least, when a professional writer doesn't do anything else but write. He doesn't have to write, and if he doesn't feel like it he shouldn't try. He can look out of the window or stand on his head or writhe on the floor, but he is not to do any other positive thing, not read, not write letters, glance at magazines, or write checks. Either write or nothing.
 * Raymond Chandler

 * It is not a bad idea to get in the habit of writing down one's thoughts. It saves one having to bother anyone else with them.
 * Isabel Colegate

 * The more books we read, the sooner we perceive that the only function of a writer is to produce a masterpiece. No other task is of any consequence.
 * Cyril Connolly

 * The cure for writer's cramp is writer's block.
 * Inigo DeLeon

 * I write entirely to find out what I'm thinking, what I'm looking at, what I see and what it means. What I want and what I fear.
 * Joan Didion

 * The written word is weak. Many people prefer life to it. Life gets your blood going, and it smells good. Writing is mere writing, literature is mere. It appeals only to the subtlest senses - the imagination's vision and the imagination's hearing - and the moral sense, and the intellect. This writing that you do, that so thrills you, that so rocks and exhilarates you, as if you were dancing next to the band, is barely audible to anyone else. The reader's ear must adjust down from loud life to the subtle, imaginary sounds of the written word. An ordinary reader picking up a book can't hear a thing; it will take half an hour to pick up the writing's modifications, its ups and downs and louds and softs.
 * Annie Dillard

 * The best way to become acquainted with a subject is to write a book about it.
 * Benjamin Disraeli

 * Learn to write well, or not to write at all.
 * John Dryden

 * When the past is recaptured by the imagination, breath is put back into life.
 * Marguerite Duras

 * Some editors are failed writers, but so are most writers.
 * T. S. Eliot

 * All good writing is swimming under water and holding your breath.
 * F. Scott Fitzgerald, Undated letter to his daughter "Scottie" (Frances Scott Fitzgerald).

 * Getting even is one reason for writing.
 * William Gass

 * I write because I hate. A lot. Hard.
 * William Gass

 * I think of a writer as a river: you reflect what passes before you.
 * Natalia Ginzburg

 * The natural state of all writing is mediocrity.
 * Ira Glass

 * If any man wish to write in a clear style, let him be first clear in his thoughts; and if any would write in a noble style, let him first possess a noble soul.
 * Johann Wolfgang von Goethe

 * The writer's intention hasn't anything to do with what he achieves. The intent to earn money or the intent to be famous or the intent to be great doesn't matter in the end. Just what comes out.
 * Lillian Hellman

 * The first draft of anything is always shit.
 * Ernest Hemingway

 * A serious writer is not to be confused with a solemn writer. A serious writer may be a hawk or a buzzard or even a popinjay, but a solemn writer is always a bloody owl.
 * Ernest Hemingway

 * The way you define yourself as a writer is that you write every time you have a free minute. If you didn't behave that way you would never do anything.
 * John Irving

 * The only end of writing is to enable the reader better to enjoy life, or better to endure it.
 * Samuel Johnson

 * Writing is as much a work in progress as the writing itself.
 * Alexander Keyes

 * All of us learn to write in the second grade. Most of us go on to greater things.
 * Bobby Knight

 * What a heavy oar the pen is, and what a strong current ideas are to row in!
 * D.H. Lawrence

 * It is splendid to be a great writer, to put men into the frying pan of your words and make them pop like chestnuts.
 * D.H. Lawrence

 * I like to write when I feel spiteful; it's like having a good sneeze.
 * D.H. Lawrence

 * First sentences are doors to worlds.
 * Ursula K. Le Guin

 * Writing is no trouble, you just jot down ideas as they occur to you. The jotting is simplicity enough - it is the occurring which is difficult.
 * Stephen Leacock

 * Your life story would not make a good book. Don't even try.
 * Fran Lebowitz

 * You should write, first of all, to please yourself. you shouldn't care a damn about anybody else at all. But writing can't be a way of life - the important part of writing is living. You have to live in such a way that your writing emerges from it.
 * Doris Lessing

 * Writing is simple. First you have to make sure you have plenty of paper... sharp pencils... typewriter ribbon. Then put your belly up to the desk... roll a sheet of paper into the typewriter... and stare at it until beads of blood appear on your forehead.
 * Jeff MacNelly

 * Being a real writer means being able to do the work on a bad day.
 * Norman Mailer

 * Writing is the supreme solace.
 * Somerset Maugham

 * Writers should be read, but neither seen nor heard.
 * Daphne du Maurier

 * If you copy from one author, it’s plagiarism; if you copy from two, it’s research.
 * Wilson Mizner

 * An author is a fool who, not content with boring those he lives with, insists on boring future generations.
 * Charles de Montesquieu

 * When a man is tired of pens, he is tired of life.
 * Stephen Overbury

 * The great art of writing is the art of making people real to themselves with words.
 * Logan Pearsall Smith

 * Don't write until you're 25. Don't write for the high school yearbook. Don't write for the college literary magazine. Don't write for any of that stuff; you never had any experiences, you don't know anything. Just shut up.
 * Joe Queenan

 * Writers are made, not born.
 * Ayn Rand

 * Literature is an occupation in which you have to keep proving your talent to people who have none.
 * [Jules Renard]]

 * Beneath the rule of men entirely great, The pen is mightier than the sword.
 * Edward Bulwer-Lytton, Richelieu

 * A writer writes not because he is educated but because he is driven by the need to communicate. Behind the need to communicate is the need to share. Behind the need to share is the need to be understood. The writer wants to be understood much more than he wants to be respected or praised or even loved. And that perhaps, is what makes him different from others.
 * Leo Rosten

 * The only reason for being a professional writer is that you can't help it.
 * Leo Rosten

 * The skill of writing is to create a context in which other people can think.
 * Edwin Schlossberg

 * Every writer is a frustrated actor who recites his lines in the hidden auditorium of his skull.
 * Rod Serling

 * Writing is the only thing that, when I do it, I don't feel I should be doing something else.
 * Gloria Steinem

 * The writer must believe that what he is doing is the most important thing in the world. And he must hold to this illusion even when he knows it is not true.
 * John Steinbeck, New York Times (2 June 1969)

 * Write something to suit yourself and many people will like it; write something to suit everybody and scarcely anyone will care for it.
 * Jesse Stuart

 * The natural writer hopes to communicate - to present somebody else his interpretation of life.
 * Booth Tarkington

 * The shelf life of a modern hardback writer is somewhere between milk and yogurt.
 * Calvin Trillin

 * Who is more to be pitied, a writer bound and gagged by policemen or one living in perfect freedom who has nothing to say?
 * Kurt Vonnegut, Jr.

title: Talk:Writing


text:
Talk:Anthropology

Unsourced and off-topic quotes

 * Our biological anthropological heritage disposes humanity to far more diverse varieties of sexual behaviours than our modern repressive culture permits or deems 'socially acceptable'...
 * Gisela Bleibtreu-Ehrenberg (1990) Vom Schmetterling zur Doppelaxt. p.22-23

 * The awe and dread with which the untutored savage contemplates his mother-in-law are amongst the most familiar facts of anthropology.
 * James Frazer (1890) The Golden Bough

 * Insight into human symbolic behavior and into human interaction through symbolic mechanisms comes from all sorts of disciplines: not only from linguistics, philosophy, psychology, and cultural anthropology, but from attitude research and public opinion study, from new techniques in psychotherapy, from physiology and neurology, from mathematical biology and cybernetics.
 * S. I. Hayakawa (1939) Language in Thought and Action p. x

title: Talk:Anthropology


text:
User talk:Knavinusa

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 18:23, 6 November 2006 (UTC)
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title: User talk:Knavinusa


text:
User talk:Zhangningsdu

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 18:23, 6 November 2006 (UTC)
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title: User talk:Zhangningsdu


text:
User talk:Lock02

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 18:23, 6 November 2006 (UTC)
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title: User talk:Lock02


text:
User talk:Franzas

Welcome
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title: User talk:Franzas


text:
User talk:Domz2006

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 18:23, 6 November 2006 (UTC)
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title: User talk:Domz2006


text:
User talk:Scottfore

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 18:23, 6 November 2006 (UTC)
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title: User talk:Scottfore


text:
User talk:Jeremybornstein~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 Jeremybornstein. To make sure that both of you can use all Wikimedia projects in future, we have reserved the name Jeremybornstein~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 23:27, 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:Jeremybornstein~enwikiquote


text:
User talk:Mzrein

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 18:23, 6 November 2006 (UTC)
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title: User talk:Mzrein


text:
User talk:WackoMatto

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 18:23, 6 November 2006 (UTC)
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title: User talk:WackoMatto


text:
User talk:Jemaura

Welcome
Hi. Welcome to English Wikiquote. Enjoy! —LrdChaos (talk) 18:23, 6 November 2006 (UTC)
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title: User talk:Jemaura


text:
Rocky Marquette

Rocky Marquette (born May 15, 1980) is an American actor.

Quotes

 * Believe it to be true and meet yourself there.

 * Acting is reacting.

title: Rocky Marquette


text:
Talk:Rome

Unsourced

 * It is my sixth time in the Eternal City, but I'm deeply touched again. Being touched while coming to Rome is usual in sensitive people, so I'm almost ashamed of my writings.
 * Henri Beyle, alias Stendhal

 * The light that reveals Rome's monuments is not that to which we are accustomed; it produces numerous optical effect plus a certain atmosphere, all impossible to put into words. The light strikes Rome in ways that I've never seen.
 * Henri Beyle, alias Stendhal

 * In the world Rome is probably the place where most in beauty has been accumulated and subsists in span of twenty centuries. It has created nothing, only a spirit of greatness and order of beautiful things; but the most magnificent monuments on the earth have extended and were fixed in it with such energy to leave the most numerous and indelible tracks in it, more than in anywhere else on the globe.
 * Maurice Maeterlinck

 * Rome makes fall in love with itself very slowly but forever.
 * Nikolaj Vasil'evic Gogol

 * Rome is beautiful, so beautiful, I swear, all the other things seem nothing in front of it.
 * Charles de Brosses

 * The Roman evening either keeps still or it sings. No one can behold it without growing dizzy, and time has filled it with eternity.
 * Jorge Luis Borges

 * Rome so craved, in yourself you hold me, in yourself I'm, and you feel in myself! I expand or thin through streets and squares of the quarter where I live, near the river...
 * Rafael Alberti

 * Rome is like a book of fables, on every page you meet up with a prodigy. And at the same time we live in dream and reality.
 * Hans Christian Andersen

 * I wouldn't leave Rome to go to Heaven
 * Joie Davidow

 * For me, Rome is the old center, with her narrow streets, in warm colours, orange,red and even gold. Here is Rome like a house. The alleys are passages, and in three minutes you are in the most beatiful squares of the City, Piazza della Rotonda with the monument, the Pantheon, and the Piazza Navona. These are my reading rooms, my refreshment rooms, my salons where I meet my guests.
 * Rosita Steenbeek She is a Dutch writer. (this text is literally translated).

 * If Europe needs a Capital, when it is finally united. It should be Rome. Here was the creation of Europe, here you can feel Europe, and even feels live.

 * For someone who has never seen Rome, it is hard to believe how beautiful life can be!
 * Italian proverb

 * Methinks I will not die quite happy without having seen something of that Rome of which I have read so much.
 * Sir Walter Scott

Intro moved to the talk page
Rome (Italian and Latin: Roma) is a city and special comune (named "Roma Capitale") in Italy. Rome is the capital of Italy and also of the Province of Rome and of the region of Lazio. With 2.7 million residents in 1,285.3 sq km (496.3 sq mi), it is also the country's largest and most populated comune and fourth-most populous city in the European Union by population within city limits. The urban area of Rome extends beyond the administrative city limits with a population of around 3.8 million. The city is located in the central-western portion of the Italian Peninsula, on the Tiber within Lazio (Latium). The Vatican City is an independent country within the city boundaries of Rome, the only example of a country within a city existing.

Rome's history spans more than two and a half thousand years, since its legendary founding in 753 BC. Rome is one of the oldest continuously occupied cities in Europe. It is referred to as "The Eternal City", a notion expressed by ancient Roman poets and writers. In the ancient world it was successively the capital city of the Roman Kingdom, the Roman Republic and the Roman Empire, and is regarded as one of the birthplaces of Western civilization. Since the 1st century AD, Rome has been considered the seat of the Papacy and in the 8th century it became the capital of the Papal States, which lasted until 1870. In 1871 Rome became the capital of the Kingdom of Italy, and in 1946 that of the Italian Republic.

After the Middle Ages, Rome was ruled by popes such as Alexander VI and Leo X, who transformed the city into one of the major centers of the Italian Renaissance along with Florence. The current version of St Peter's Basilica was built and the Sistine Chapel was painted by Michelangelo. Famous artists and architects, such as Bramante, Bernini and Raphael, resided for some time in Rome, contributing to its Renaissance and Baroque architecture.

Further comment
Wikiquote is not Wikipedia, intro's should just mention the subject, not explain it. -- Mdd (talk) 23:44, 22 April 2014 (UTC)
 * I don't necessarily agree - merely mentioning a topic for a page is not a mandated limit that I am aware of. Yes, this is Wikiquote and not Wikipedia, but I would argue that there is some middle ground between the above intro and the bare bones stripped down one you left on the page. For most pages, I would actually agree that a sentence or two is sufficient, but in the case of a subject such as Rome (or other such pages for places) I do think having additional information is both helpful and appropriate. Yes, the above could be stripped down somewhat, but I fail to see the harm in including a description of the city, some history, and notable facts about it. Having only a single dry sentence about a place with such a rich history as Rome seems to me to not be enough - and I would hate to apply strict limits on the size of intros of such pages. It's different for a page about a single person but IMHO a page about a place with as much to be said about it deserves a bit more. ~ UDScott (talk) 00:21, 23 April 2014 (UTC)

 * I noticed this is not just about this page, but the current article's of Paris and London have similar long introductions. The mayor disadvantage of lemma's like that is, that they looks like a stub Wikipedia article with some quotes added to it. Especially on a tablet computer screen, but also on a laptop. Is this what we want here? -- Mdd (talk) 01:19, 23 April 2014 (UTC)
 * Well no, but the remedy is to add more quotes, not necessarily to cut the intro down to a single sentence. I still believe that some subjects of pages deserve longer intros, in particular cities that have a long history and offer many significant elements and landmarks. ~ UDScott (talk) 02:44, 23 April 2014 (UTC)
 * I admit that cutting it down to one line is too much, and agree this subject more than deserves a good coverage. Yet, I believe the focus should be on more and better quotes, and a better arrangement of those quotes ( for example chronologically). Independent from that, long intro's are just contra-productive. -- Mdd (talk) 15:33, 23 April 2014 (UTC)

title: Talk:Rome


text:
User talk:128.223.171.168

Please stop adding nonsense to Wikiquote, as you did to Internet. It is considered vandalism. If you would like to experiment, use the sandbox. —LrdChaos (talk) 20:27, 6 November 2006 (UTC)

title: User talk:128.223.171.168


text:
Support Your Local Sheriff!

Support Your Local Sheriff! is a 1969 comic western film.

Dialogue

 * Tom Jeffreys: All this may seem very amusing to the Mayor and the members of the Town Council, but we mine-owners haven't had a thing to laugh about since we started here!
 * Olly Perkins: We don't think it's funny, Tom- we just don't know what to do about it.
 * Tom Jeffreys: For that matter, what we need is a new Mayor and a Town Council that does know what to do about it!
 * Olly Perkins: Now, what kinda talk is that?! We all know the only reason I'm Mayor and the other two are Councilmen, is because nobody else wanted the job.  And don't forget, Tom, we're all mine-owners ourselves!
 * Tom Jeffreys: Well, do you enjoy giving twenty percent of everything you take out of the mines to the Danby family?
 * Henry Johnson: Why would we enjoy it?
 * Tom Jeffreys: Well, alright then!  Let's do something about it!
 * Olly Perkins: What? You all know the situation! [gestures at a map] There's us, here in Calendar, and there's Galena where we've gotta ship our gold- and there's the Danby ranch, halfway in between!  The road even runs through their property.
 * Tom Jeffreys: Alright, fine, then we'll build the road around their property.
 * Olly Perkins: HOW?! They own that whole valley!
 * Fred Jackson: Besides, if they don't get their twenty percent, they just hold up every stage that comes through, and take all of it!
 * Tom Jeffreys: Alright, but we've gotta do something! Even if it means bringing troops in here!
 * Olly Perkins, Henry Johnson, Fred Jackson: Troops?!
 * Olly Perkins: What troops?  From where?  The nearest troops are five hundred miles away!
 * Tom Jeffreys: Alright, then we recruit our own.
 * Olly Perkins: How?  We can't even recruit enough dishwashers, so how are we gonna raise any troops?
 * Henry Johnson: Nobody wants to stop prospecting long enough to take a bath, let alone join an army.
 * Olly Perkins: It all happened so fast, we haven't had a chance to really get organized yet.
 * Fred Jackson: [nods] And the Danbys are taking advantage of it.
 * Henry Johnson: [points out the window] There goes one of 'em now.
 * Fred Johnson: Which one's he?
 * Olly Perkins: Joe. Out of the father and three brothers, he's about the second-toughest.
 * Henry Johnson: They all act like they own the place.
 * Tom Jeffreys: [darkly] The way things are set up right now, they do. And it's gonna stay that way, 'til we can find ourselves a sheriff that won't turn tail and run the minute someone takes a shot at him!

 * Joe Danby: [having just killed a man in a draw at the saloon] Alright, y'all saw it!  And it was a fair fight.  He drew first... so it's self-defense.
 * Bartender: Oh, I saw it, Joe, he drew first!
 * Barfly: Oh, you couldn't call that anything but self-defense!
 * Jason McCullough: Well, it may have been a lot of things, but self-defense it wasn't. And he didn't draw first; you did.

[Everyone stares at McCullough, stunned; Joe approaches him menacingly]
 * Joe Danby: ...What do you mean by that?
 * Jason McCullough: Oh, it's an old trick.  You did it pretty well; not really well, but pretty well.  You feinted him into drawing with your left shoulder, while you were going for your gun with your right hand.  It's an old Arizona trick, but I- I have seen it used as far north as Montana.
 * Joe Danby: [nods]... Are you callin' me a liar?
 * Jason McCullough: Well, now you heard every word I said, and not once did I call you a liar.  All I said was, you feinted him with your left shoulder into going for his gun while you were going for yours with your right hand.
 * Joe Danby: So what?
 * Jason McCullough: You beat that poor man to the draw. [coldly] He's dead, and you're alive; that's the whole idea of the game, isn't it?
 * Joe Danby:... What's your name?
 * Jason McCullough: Jason McCullough.  What's yours?
 * Joe Danby: Joe Danby.  And you had better remember it.
 * Jason McCullough: Oh, I'll remember it, Joe. [sarcastically] That's about all I'm gonna do, the rest of my life, is go around remembering your name. [finishes his drink and leaves]

 * Jason McCullough: Is there some kinda badge that comes with this job?
 * Olly Perkins: Oh, you bet there is! [he brings it over] I'm afraid it's a little bent-up.
 * Jason McCullough: Oh, that's no trouble. [examines a bullet-dent in the badge] Must've save the life of whoever was wearing it at the time.
 * Olly Perkins: Well it sure would've, if it hadn't been for all them other bullets flyin' in from everywhere!

[McCollough, having been appointed the new Sheriff, breaks up a fight by spraying the brawlers with a hose while the Mayor and the Town Council gleefully power the fire-pump]
 * Jason McCullough: Break it up! [the various mud-covered townspeople stagger apart and stare at him as the water is turned off]
 * Jake: Whattaya think you're tryin' to do?!
 * Jason McCullough: Stoppin' a fight.
 * Jake: Who're you?
 * Jason McCullough: Ah, I'm the new Sheriff. [gestures to his badge]
 * Jake: [grins] Oh- we got a new Sheriff! [the townspeople laugh] Let's see if he scares as easy as the last Sheriff.

[He goes for his gun, but McCullough draws faster, firing right next to Jake's boot; Jake and the townspeople all jump.]
 * Jason McCullough: Now, I want all you people to quit disturbing the peace, and clean up this mess.
 * Jake: Uh, yes sir. Anything else?
 * Jason McCullough: You got a name?
 * Jake: Jake.
 * Jason McCullough: All right, now Jake, I want you to go down to the men's saloon. There's a fellow in there by the name of Joe Danby.  You tell him I remember his name, and he's under arrest for murder.  I'll be around to pick him up in about twenty minutes.
 * Jake: [looking horrified]...You talking to me?
 * Jason McCullough: You hard of hearin'?
 * Jake: You want me... to go tell Joe Danby... that he's under arrest for murder?! [McCullough nods] What are you gonna do after he kills me?!
 * Jason McCullough: Then I'll arrest him for both murders.

 * Jason McCullough: [Relaxing against a tree] Hey Jake! How do you think we ought to split whatever we find? Sixty-forty?
 * Jake: [With backpack filled with dynamite and equipment on his back and a wet fish in either hand] Sixty for who, and forty for who?
 * Jason McCullough: There you see? See what gold does to men? We haven't even found anything, and already we're arguing about it!
 * Jake: Sixty for who, and forty for who?
 * Jason McCullough: I just wish you could see the greed in your face.
 * Jake: What you mean is sixty for you, and forty for me!
 * Jason McCullough: Well thank you Jake. That's very generous of you.

- [Joe sneaks out of the unfinished jail, carrying his revolver and ammunition belt, only to find McCullough leaning against the wall around the corner.]
 * Jason McCullough: Joe. [Joe jumps and starts to pull his revolver out of the holster] I took the bullets out. You just won't play the game, will you?  I keep layin' down the rules, and you don't pay any attention.
 * Joe Danby: [glowers as he hands over the gun and belt] You just wait 'til my Pa and two brothers find out you got me in here, boy.
 * Jason McCullough: Oh, I'm lookin' forward to meetin' your whole family. [he leads Joe back inside the jail]
 * Joe Danby: If it weren't bad enough that I had to get dragged outta that saloon in front of all my friends...
 * Jason McCullough: Oh, I don't think you have all that many friends that you really need to worry.
 * Joe Danby: Then I have to sit there in that lousy cell! [he returns to the cell and sits down] Pa's gonna skin me alive for gettin' caught!
 * Jason McCullough: He don't mind you murdering a man, he just doesn't like you gettin' caught, huh?
 * Joe Danby: [holds out his wrists as McCullough puts handcuffs on him] I didn't murder anybody, that was self-defense!  It was him or me!
 * Jason McCullough: Well, we'll let the judge decide that.  Ah, we...do have a judge around here, don't we?
 * Joe Danby: We never needed one 'til you came along and ruined everything!
 * Jason McCullough: Spoiled all your fun, huh, Joe?
 * Joe Danby: You can say that again! [he notices McCullough emptying bullets from his revolver] Oh, thats funny. [McCullough grins, winks at him and walks away] That's REAL funny!

-
 * Pa Danby: That's a lousy jail you got back there.
 * Jason McCullough: Oh, we're just getting started.

[Jake enters, then jumps when he sees Danby]
 * Pa Danby: What's he supposed to be?
 * Jason McCullough: Oh, that's my deputy. [Jake shows his badge]
 * Pa Danby: Why, just last week he was shovelin' horse- he was workin' around the stables!
 * Jason McCullough: Well, he's been promoted.
 * Pa Danby: ...I'm gonna find out what's happenin' to this town! [storms out]
 * Jake:... What'd Danby want?
 * Jason McCullough: Oh, he came in, we talked a little while, he went in to see Joe, he came back out, we talked a bit more, then he left. [Jake nods] You know... he strikes me as bein' a lonely man.
 * Jake: Lonely? Danby?! Why, he's a mean, low-down no-good bushwhacker!
 * Jason McCullough: There, you see? No wonder he's lonely. [Jake looks confused]

-
 * Luke Danby: Why don't the three of us go over there together? I don't care if he is the fastest gun to ever hit anywhere.
 * Pa Danby: Who says he's the fastest gun to ever hit anywhere?
 * Tom Danby: Everyone. That's all they're talkin' about, all over town!
 * Luke Danby: Besides, what could he do against three of us?
 * Pa Danby: He could kill two of us.
 * Tom Danby: So who's gonna take care of him?
 * Luke Danby: Well, who says anybody's gotta take care of him?  Why don't we just run him outta town, like we did the last Sheriff?
 * Pa Danby: Because this one won't go.
 * Tom Danby: ... You ain't talkin' like yourself, Pa.
 * Luke Danby: Yeah, it was always you chargin' in, and us two tryin' to hold you back.
 * Tom Danby: He didn't throw a scare into you, did he, Pa? [Pa glares at him] I- I didn't mean that the way it sounded! I didn't mean, "did he throw a scare into you", I meant... well, what did he do to you, Pa?
 * Pa Danby: He maybe made me more thoughtful.  He maybe made me realize, that now that we've got a little money for the first time in our lives, and- and got a chance to get a whole lot more... this'd be a dumb time to find out who's the fastest with a gun, us or some show-off who might get lucky even if he... even if he weren't good!
 * Luke Danby: So what are we gonna do about him?
 * Pa Danby: Ah, there's always some tramp that's good with a gun that can be hired.
 * Luke Danby: But you always say "the Danbys fight their own battles."
 * Pa Danby:... Well, maybe I was talking about another branch of the family. (Luke and Tom look confused) Now, I'm gonna take a little trip tomorrow, and I want you two to behave yourselves while I'm gone- I don't want no one to make no martyr out of that sheriff.
 * Tom Danby:... What's a martyr?
 * Pa Danby: (sarcastically) Oh, I'm sorry- they didn't use words like that in the third grade, did they?
 * Tom Danby: How would I know?  I never got that far.

 * Prudi Perkins: I mean, do you remember what this town was like before? Murdering, lynching, miners shooting up the place day and night?
 * Fred Jackson: And aside from the few things you just mentioned, it wasn't a bad town at all!

title: Support Your Local Sheriff!


text:
User:Omega 17 The True~enwikiquote

Here The Famous Quotes From : Omega_17_The_True

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title: User:Omega 17 The True~enwikiquote