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Template talk:Checkcopyright

Establishing a Wikiquote editorial board?
I find the following line in the current template quite troubling:
 * Please do not remove this tag from the talk page of the article until it has been checked by a user familiar with the fair use provisions of U.S. copyright law and edited down if necessary.

This smacks of establishing a de facto Wikiquote editorial board that has the authority to judge whether an article violates copyright. This is completely against established Wikimedia Foundation practices. I recognize that Wikiquote has some special copyright concerns, but they must be addressed within the context of the Foundation's practices, and must accommodate the editing structure of its projects. We must either rephrase this sentence or remove it. ~ Jeff Q (talk) 23:00, 16 October 2005 (UTC)

 * There is no editorial board nor does it suggest there would be one. It merely requests (politely, at that) that unless someone who knows a little bit about the law in question has seen the page, the note should not be removed. It does not imply anything outside of the ordinary -- it is just a small line to encourage users who aren't aware of the fair use provision or how it works to not play with the template. --Fastfission 00:56, 29 December 2005 (UTC)

 * This bit does have a rather expertist tone. It may have been appropriate when we were first grappling with the issue, but now that guidance has been developed at WQ:LOQ we can switch from a purely proscriptive message to a prescriptive one that invites participation. I propose replacing the last sentence with:
 * You can help by trimming the article according to the guidelines at Limits on quotations. In the meantime, please do not add more quotes or remove this tag until the article has been brought in line with the fair use provisions of U.S. copyright law.
 * Unless anyone objects, I will change the template accordingly. ~ Ningauble 15:41, 22 September 2009 (UTC)

 * I just realized that, having taken a wikibreak after posting above, I completely forgot about it and failed to follow through. In light of the primary emphasis on quality in the Limits on quotations guideline (stated first and discussed at greatest length in the lede rationale), I no longer think the change I proposed is ideal. The template should not only eschew expertism, I think it should avoid giving the impression that copyright is the only reason to tag an article for trimming. One could create awfully huge (i.e. hugely awful) pages without much risk of being sued for copyright infringement. ~ Ningauble 17:31, 30 March 2010 (UTC)

page location
should there be some sort of guideline where it can be used (eg: only on the talk pages)? —This unsigned comment is by 121.45.255.179 (talk • contribs) 04:10, 18 August 2007.
 * I came here to ask about that, having found this template from following some link that is currently appearing at the top of every page. I see that the category has mostly talk pages but also several that are main pages, and I wonder would it be appropriate for me to move the "checkcopyright" template to the talk pages? Stratford490 20:16, 11 September 2008 (UTC)
 * The tag should be placed on the page's Talk page. Quoting from Copyrights, "If you believe that a given article has too many quotes or excerpts from a copyrighted work on it, please add the text to its talk page. This will cause it to go into a queue for review and possible revision." ~ UDScott 20:30, 11 September 2008 (UTC)
 * Thank you. I've started moving a few that were on the wrong pages. Stratford490 21:00, 11 September 2008 (UTC)

Original intention of this template... and the copyvio template
In 2007 User:LrdChaos explained the intention of this template, see here:

 * ... I created the copyvio template for cases of obvious copyright violation, usually those cases when a page was nothing more than a copy of a website or similar. This was in response to a series of pages being VFD-nominated as copyvio and blanked; I adapted the Wikipedia copyvio template so that we could provide a consistent message for when pages are blanked as copyvio. On the other hand, it's been my thought to use checkcopyright when a page simply has acquired so many quotes that it's a possible copyright violation, but isn't a direct copy of a source (that is, pages that quote more of a book/film/TV show/etc. than can be considered fair use, but still isn't a blatant copyright violation). I've seen the distinction as, copyvio is for obvious, blatant, copy/paste copyvio, while checkcopyright is for pages that simply are overquoting.
 * While it would certainly be possible to combine the two (and their categories), I think we'd lose an important distinction between the two classes. (I find it generally easier to trim down an "organically-developed" copyvio (which I'd have tagged with checkcopyright, and often have some level of formatting) than a copy/paste of a web page copyvio (which I'd have blanked and tagged copyvio), and are often basically raw dumps of data). —LrdChaos (talk)

-- Mdd (talk) 15:02, 23 November 2015 (UTC)

title: Template talk:Checkcopyright


text:
Rachel Whiteread

Rachel Whiteread (born 20 April 1963) is a Turner Prize-winning artist, best known for her sculptures, which typically take the form of casts. She was one of the so-called Young British Artists, and exhibited at the Royal Academy's Sensation exhibition in 1997. She created House, a large concrete cast of the inside of a Victorian house, and a resin sculpture, Monument, for the empty plinth in London's Trafalgar Square.

Quotes

 * I make all this stuff in the studio, but I also work on these white elephants —  like House or Untitled Monument  —  things that are incredibly ambitious, take an awful long time to do, involve a lot of controversy, an awful lot of people, and don't make any money particularly, but it's just because I need to make them.
 * As quoted in "Some day my plinth will come" by Lynn Barber in The Guardian (27 May 2001)

 * We still have prostitutes standing on our corner, and people crapping round the back of buildings. The charms are still there.
 * On her home-studio in Bethnal Green, as quoted in "Still breaking the mould" by Gordon Burn in The Guardian (11 October 2005)

 * I think the difference between me and some of the other YBAs [Young British Artists] was that I was ambitious for the work, and not ambitious for myself.
 * As quoted in "Still breaking the mould" by Gordon Burn in The Guardian (11 October 2005)

 * I don't want to make plop art — sculpture that just gets plopped down in places. I wouldn't want to litter every corner of the world with my sculpture.
 * As quoted in "Boxing clever" by Lynn Barber inThe Guardian (16 October 2005)

 * I became aware of Louise Bourgeois in my first or second year at Brighton Art College. One of my teachers, Stuart Morgan, curated a small retrospective of her work at the Serpentine, and both he and another teacher, Edward Allington, saw something in her, and me, and thought I should be aware of her. I thought the work was wonderful. It was her very early pieces, The Blind Leading the Blind, the wooden pieces and some of the later bronze works. Biographically, I don't really think she has influenced me, but I think there are similarities in our work. We have both used the home as a kind of kick-off point, as the space that starts the thoughts of a body of work. I eventually got to meet Louise in New York, soon after I made House. She asked to see me because she had seen a picture of House in the New York Times while she was ironing it one morning, so she said. She was wonderful and slightly kind of nutty; very interested and eccentric. She drew the whole time; it was very much a salon with me there as her audience, watching her. I remember her remarking that I was shorter than she was. I don't know if this was true but she was commenting on the physicality of making such big work and us being relatively small women. When you meet her you don't know what's true, because she makes things up. She has spun her web and drawn people in, and eaten a few people along the way.
 * Rachel Whiteread, "Kisses for Spiderwoman," The Guardian, 14 Oct. 2007: on Louise Bourgeois

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

title: Rachel Whiteread


text:
Jack Tatum

John David Tatum (November 18, 1948 – July 27, 2010) was an American football safety who played 10 seasons from 1971 through 1980 for the Oakland Raiders and Houston Oilers in the National Football League (NFL). He was popularly known as "The Assassin" because of his playing style. Tatum was voted to three consecutive Pro Bowls (1973–1975) and was a member of one Super Bowl-winning team in his nine seasons with the Raiders. He is also known for a hit he made against New England Patriots wide receiver Darryl Stingley in a 1978 preseason game that paralyzed Stingley from the chest down.

Final Confessions of NFL Assassin Jack Tatum by Jack Tatum with Bill Kushner (1996)

 * I was paid to be a warhead, and anyone who came near me should get knocked into Hell!

 * I don't care who gets in my way--my mother, my grandmother, my daughter: I'll knock each and every one of them on their ass.

 * Call me a queer. I'd rather hit than make love, money, or friends.

 * It could have happened to anybody. People are always saying, 'He didn't apologize.' I don't think I did anything wrong that I need to apologize for. It was a clean hit.
 * about the Darryl Stingley hit.

title: Jack Tatum


text:
User talk:Bodnotbod

Thanks for your contribution of Rachel Whiteread. I have added a cleanup tag. Please see Templates/People for standard formatting of people quotation pages. ~ MosheZadka (Talk) 01:30, 17 October 2005 (UTC)

Re: Rachel Whiteread
''Hello, can you tell me what needs to be cleaned up? I can't see how it differs from the template you pointed me towards. Regards, --bodnotbod 06:16, 17 October 2005 (UTC)''

 * Hi. I have added explanation to Talk:Rachel Whiteread (usually, I prefer to leave the detailed explanation of issues on the talk page of the article: as long as I'm writing it, might as well might make it accessible to all potential editors of this page). ~ MosheZadka (Talk) 06:32, 17 October 2005 (UTC)

title: User talk:Bodnotbod


text:
Psycho (1960 film)

Psycho is a 1960 film about a secretary who is on the run after stealing money from her employers, and her encounter with a profoundly disturbed motel owner.
 * Directed by Alfred Hitchcock. Screenplay written by Joseph Stefano, based on the novel by Robert Bloch.

Don't give away the ending — it's the only one we have! Taglines

Norman Bates

 * [before discovering Marion's body] Mother! Oh, God! Mother! Blood! Blood!

Marion Crane

 * Headaches are like resolutions. You forget them as soon as they stop hurting.

Others

 * Tom Cassidy: You know what I do about unhappiness? I buy it off. Are, uh, are you unhappy? [waving around his $40,000] Now, that's, that's not buying happiness. That's just buying off unhappiness. I never carry more than I can afford to lose.
 * Hardware store customer: So far of those I've used, I haven't had much luck with any of them. Well, let's see what they say about this one. They tell you what it's ingredients are, and how it's guaranteed to exterminate every insect in the world, but they do not tell you whether or not it's painless. And I say, insect or man, death should always be painless.

Dialogue

 * Marion: Sam, this is the last time.
 * Sam: For what?
 * Marion: For this. Meeting you in secret so we can be secretive. You come down here on business trips, the occasional lunch hour, and I wish you wouldn't even come.
 * Sam: All right, what do we do instead? Write each other lurid love letters? I can come down next week.
 * Marion: No.
 * Sam: Not even just to see you? Have lunch? [smiles] In public.
 * Marion: Oh, we can see each other. We can even have dinner, but respectably — in my house with my mother's picture on the mantle, and my sister helping me broil a big steak for three.
 * Sam: And after the steak, do we send sister to the movies? Turn mama's picture to the wall?
 * Marion: Sam!
 * Sam: [begrudgingly] All right. Marion, whenever it's possible I want to see you and under any circumstances, even respectability.
 * Marion: You make respectability sound disrespectful.
 * Sam: Oh no, I'm all for it. But it requires patience, temperance, with a lot of sweating out. Otherwise though, it's just hard work. But if I could see you and touch you, you know, simply as this, I won't mind. [He nibbles at her neck]

 * Mother: No! I tell you no! I won't have you bringing some young girl in for supper! By candlelight, I suppose, in the cheap, erotic fashion of young men with cheap, erotic minds!
 * Norman: Mother, please!
 * Mother: And then what? After supper? Music? Whispers?
 * Norman: Mother, she's just a stranger. She's hungry, and it's raining out!
 * Mother: [mockingly] "Mother, she's just a stranger"! As if men don't desire strangers! As if... ohh, I refuse to speak of disgusting things, because they disgust me! You understand, boy? Go on, go tell her she'll not be appeasing her ugly appetite with my food or my son! Or do I have to tell her because you don't have the guts! Huh, boy? You have the guts, boy?
 * Norman: [shouts] Shut up! Shut up!

 * Marion: [about Norman's taxidermy] A man should have a hobby.
 * Norman: Well, it's, it's more than a hobby. [He fondles a stuffed bird on the bureau next to him] A hobby's supposed to pass the time, not fill it.
 * Marion: Is your time so empty?
 * Norman: No, uh. Well, I run the office and uh, tend the cabins and grounds and, and do a little, uh, errands for my mother. The ones she allows I might be capable of doing.
 * Marion: Do you go out with friends?
 * Norman: Well, a boy's best friend is his mother. You've never had an empty moment in your entire life, have you?
 * Marion: Only my share.
 * Norman: Where are you going? I didn't mean to pry.
 * Marion: I'm looking for a private island.
 * Norman: What are you running away from?
 * Marion: Wh-why do you ask that?
 * Norman: People never run away from anything.
 * Note: bolded portion ranked #56 in the American Film Institute's list of the top 100 movie quotations in American cinema.

 * Norman: The rain didn't last long, did it? [Pause] You know what I think? I think that we're all in our private traps, clamped in them, and none of us can ever get out. We scratch and we claw, but only at the air, only at each other, and for all of it, we never budge an inch.
 * Marion: Sometimes, we deliberately step into those traps.
 * Norman: I was born in mine. I don't mind it anymore.
 * Marion: Oh, but you should! You should mind it!
 * Norman: Oh, I do, [laughs] but I say I don't.
 * Marion: You know, if anyone ever talked to me the way I heard — the way she spoke to you...
 * Norman: Sometimes — when she talks to me like that — I feel I'd like to go up there, and curse her, and-and-and leave her forever! Or at least defy her! But I know I can't. She's ill.
 * Marion: She sounded strong.
 * Norman: No, I mean... ill. She had to raise me all by herself after my father died. I was only five and it must have been quite a strain for her. She didn't have to go to work or anything like that. He left her a little money. Anyway, a few years ago, Mother met this man, and he talked her into building this motel. He could have talked her into anything. And when he died too, it was just too great a shock for her. And, and the way he died. I guess it's nothing to talk about while you're eating. Anyway, it was just too great a loss for her. She had nothing left.
 * Marion: Except you.
 * Norman: A son is a poor substitute for a lover.
 * Marion: Why don't you go away?
 * Norman: To a private island, like you?
 * Marion: No, not like me.
 * Norman: I couldn't do that. Who'd look after her? She'd be alone up there. The fire would go out. It'd be cold and damp like a grave. If you love someone, you don't do that to them - even if you hate them. You understand that I don't hate her. I hate what she's become. I hate the illness.

 * Marion: Wouldn't it be better if you put her... someplace?
 * Norman: [alarmed] You mean an institution? A madhouse? [suddenly cold] People always call a madhouse "someplace", don't they? "Put her in someplace."
 * Marion: I-I'm sorry. I didn't mean it to sound uncaring.
 * Norman: [intense] What do you know about caring? Have you ever seen the inside of one of those places? The laughing, and the tears, and the cruel eyes studying you? My mother there? But she's harmless! She's as harmless as one of those stuffed birds!
 * Marion: I am sorry. I only felt... it seems she's hurting you. I meant well.
 * Norman: People always mean well! They cluck their thick tongues, and shake their heads and suggest, oh, so very delicately! [sighs] Of course, I've suggested it myself. But I hate to even think about it. She needs me. It-it's not as if she were a... a maniac — a raving thing. She just goes a little mad sometimes. We all go a little mad sometimes. Haven't you?
 * Marion: Yes. Sometimes just one time can be enough. Thank you.
 * Norman: [smiles] Thank you, Norman.
 * Marion: Norman.

 * Arbogast: Is anyone at home?
 * Norman: No.
 * Arbogast: Who is? There's somebody sitting up in the window.
 * Norman: No, no, no there isn't.
 * Arbogast: Oh sure, go ahead, take a look.
 * Norman: Oh, oh, that, that must be my mother. She's, she's uh, an inv-invalid. Uh, it's, ah, practically like living alone.
 * Arbogast: Oh, I see. Well, now if this, uh girl, Marion Crane were here, you wouldn't be hiding her, would ya?
 * Norman: No.
 * Arbogast: Not even if she paid you well?
 * Norman: No, ha, ha.
 * Arbogast: Let's just say for the uh, just for the sake of argument that she wanted you to, uh, gallantly protect her. You'd know that you were being used. You wouldn't be made a fool of, would ya?
 * Norman: [angrily] But, I'm, I'm not a fool. And I'm not capable of being fooled. Not even by a woman.
 * Arbogast: Well, this is not a slur on your manhood. I'm sorry...
 * Norman: Let's put it this way. She might have fooled me, but she didn't fool my mother.
 * Arbogast: Oh, then your mother met her. Could I, could I talk to your mother?
 * Norman: No, as I told you, she's, she's confined.
 * Arbogast: Yes, well, just for a few minutes, that's all. There might be some hint that you missed out on. You know, sick old women are usually pretty sharp.

 * Sheriff Chambers: This detective was there. Norman told him about the girl. The detective thanked him and he went away.
 * Lila: And he didn't come back? He didn't see the Mother?
 * Sheriff Chambers: Your detective told you he couldn't come right back because he was goin' to question Norman Bates' mother. Right?
 * Lila: Yes.
 * Sheriff Chambers: Norman Bates' mother has been dead and buried in Greenlawn Cemetery for the past ten years!
 * Mrs. Chambers: I helped Norman pick out the dress she was buried in. Periwinkle blue.
 * Sheriff Chambers: It ain't only local history, Sam. It's the only case of murder and suicide on Fairvale ledgers. Mrs. Bates poisoned this guy she was involved with when she found out he was married. Then took a helping of the same stuff herself. Strychnine. Ugly way to die.
 * Mrs. Chambers: Norman found them dead together. [whispering] In bed.
 * Sam: You mean that old woman I saw sittin' in the window out there wasn't Bates' mother?
 * Sheriff Chambers: Now wait a minute, Sam. Are you sure you saw an old woman?
 * Sam: Yes! In the house behind the motel. I called and pounded but she just ignored me.
 * Sheriff Chambers: You want to tell me you saw Norman Bates' mother?
 * Lila: But it had to be, because Arbogast said so, too. And the young man wouldn't let him see her because she was too ill.
 * Sheriff Chambers: Well, if the woman up there is Mrs. Bates, who's that woman buried out in Greenlawn Cemetery?

 * Norman: Now mother, uhm, I-I'm gonna bring something up...
 * Mother: Ha, ha, I am sorry boy, but you do manage to look ludicrous when you give me orders.
 * Norman: Please, mother...
 * Mother: No! I will not hide in the fruit cellar! Ah ha! You think I'm fruity, huh? I'm staying right here.This is my room and no one will drag me out of it, least of all my big bold son.
 * Norman: They'll come now, mother. He came after the girl and now someone will come after him. Mother, please, it's just for a few days. Just for a few days so they won't find you.
 * Mother: Just for a few days? In that dark, dank fruit cellar? No! You hid me there once, boy, and you won't do it again. Not ever again! Now get out! I told you to get out, boy.
 * Norman: I'll carry you, Mother.
 * Mother: Norman, what do you think you're doing? Don't you touch me! Don't! Norman! Put me down! Put me down! I can walk on my own.

 * Sam: I've been doing all the talking so far, haven't I? I thought it was the people who were all alone all the time who did most of the talking when they got the chance. Here you are doing all the listening. You're alone here, aren't you? It would drive me crazy.
 * Norman: I think that would be a rather extreme reaction, don't you?
 * Sam: Just an expression. What I meant was, I'd do just about anything to get away, wouldn't you?
 * Norman: No.

 * Sam: I'm not saying that you shouldn't be contented here, I'm just doubting that you are. I think if you saw the chance to get out from under you would unload this place.
 * Norman: This place? This place happens to be my only world. I grew up in that house up there. I had a very happy childhood. My mother and I were more than happy!

 * Sam: You look frightened. Have I been saying something frightening?
 * Norman: I-I-I don't know what you've been saying.
 * Sam: I've been talking about your mother. About your motel. How you're gonna do it?
 * Norman: Do what?
 * Sam: Buy a new one in a new town where you won't have to hide your mother.
 * Norman: Why don't you just get in your car and drive away from here, OK?
 * Sam: Where will you get the money to do that, Bates? Or do you already have it, socked away?
 * Norman: Shut up!
 * Sam: A lot of it, $40,000. I bet your mother knows where the money is and what you did to get it. I think she'll tell us.

 * Dr. Richmond: Now to understand it the way I understood it, hearing it from the mother (that is, from the "mother half" of Norman's mind), you have to go back ten years, to the time when Norman murdered his mother and her lover. Now he was already dangerously disturbed, had been ever since his father died. His mother was a clinging, demanding woman, and for years the two of them lived as if there was no one else in the world. Then she met a man... and it seemed to Norman that she threw him over for this man. Now that pushed him over the line and he killed them both. Matricide is probably the most unbearable crime of all. Most unbearable to the son who commits it. So he had to erase the crime, at least in his own mind. He stole her corpse. A weighted coffin was buried. He hid the body in the fruit cellar. Even treated it to keep it as well as it would keep. And that still wasn't enough. She was there, but she was a corpse. So he began to think and speak for her, give her half his life, so to speak. At times, he could be both personalities, carry on conversations. At other times, the mother half took over completely. Now he was never all Norman, but he was often only mother. And because he was so pathologically jealous of her, he assumed that she was as jealous of him. Therefore, if he felt a strong attraction to any other woman, the mother side of him would go wild. [to Lila] When he met your sister, he was touched by her, aroused by her. He wanted her. That set off the "jealous mother" and "mother" killed the girl. Now after the murder, Norman returned as if from a deep sleep, and like a dutiful son, covered up all traces of the crime he was convinced his mother had committed!
 * Sam: Why was he... dressed like that?
 * District Attorney: He's a transvestite!
 * Dr. Richmond: Ah, not exactly. A man who dresses in women's clothing in order to achieve a sexual charge or satisfaction is a transvestite. But in Norman's case, he was simply doing everything possible to keep alive the illusion of his mother being alive. And when reality came too close, when danger or desire threatened that illusion, he dressed up, even to a cheap wig he bought. He'd walk about the house, sit in her chair, speak in her voice. He tried to be his mother. And, uh, now he is. Now that's what I meant when I said I got the story from the mother. You see, when the mind houses two personalities, there's always a conflict, a battle. In Norman's case, the battle is over; and the dominant personality has won.
 * Sheriff Chambers: And the $40,000? Who got that?
 * Dr. Richmond: The swamp. These were crimes of passion, not profit.

 * [last words]
 * Mother: [voice-over] It's sad when a mother has to speak the words that condemn her own son, but I couldn't allow them to believe that I would commit murder. They'll put him away now as I should have years ago. He was always bad. And in the end he intended to tell them I killed those girls, and that man, as if I could do anything, except just sit and stare, like one of his stuffed birds. Oh, they know I can't even move a finger and I won't. I'll just sit here and be quiet just in case they do suspect me. They're probably watching me. Well, let them. Let them see what kind of a person I am. I'm not even going to swat that fly. I hope they are watching. They'll see. They'll see and they'll know, and they'll say, "Why, she wouldn't even harm a fly."

Taglines

 * A new — and altogether different — screen excitement!!!
 * No one ... BUT NO ONE ... will be admitted to the theatre after the start of each performance of Alfred Hitchcock's Psycho.
 * It is required that you see Psycho from the very beginning!
 * Don't give away the ending — it's the only one we have!
 * The screen's master of suspense moves his camera into the icy blackness of the unexplained!
 * The master of suspense moves his cameras into the icy blackness of the unexplored! (window card)
 * Exploring the blackness of the subconscious man!

Cast

 * Anthony Perkins — Norman Bates
 * Janet Leigh — Marion Crane
 * Vera Miles — Lila Crane
 * John Gavin — Sam Loomis
 * Martin Balsam — Detective Milton Arbogast
 * John McIntire — Sheriff Al Chambers
 * Simon Oakland — Dr. Fred Richmond
 * Vaughn Taylor — George Lowery
 * Frank Albertson — Tom Cassidy
 * Lurene Tuttle — Eliza Chambers
 * Patricia Hitchcock — Caroline (as Pat Hitchcock)
 * John Anderson — Charlie
 * Mort Mills — Highway Patrol Officer

title: Psycho (1960 film)


text:
The Time of Your Life

The Time of Your Life is a 1948 film adaptation of the 1939 William Saroyan play of the same name.

Joe

 * Life ain't bookkeeping. It takes an awful lot of rehearsals to become yourself.

title: The Time of Your Life


text:
User:Raffy~enwikiquote

"If the sun comes up tomorrow, it is only because of men of good will, and that is all that stands between us and the devil"

Kenny O'Donnell Special Assistant to the President during President John F. Kennedy

title: User:Raffy~enwikiquote


text:
Talk:The Time of Your Life

Nothing in The Time of Your Life talks about a '48 version. ~ MosheZadka (Talk) 05:19, 17 October 2005 (UTC)

title: Talk:The Time of Your Life


text:
Talk:Aphorism

Erase the VFD now. Aphorism are very important in our life (specially the law aphorism, like alterum non laedere and so on).--Mac 05:30, 17 October 2005 (UTC)

title: Talk:Aphorism


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Template:Metawiki

 Meta has a page about this at:

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Talk:Rachel Whiteread

Issues I currently see: wikipedia box at the top, not in an external links section. Quotes have embedded comments (comments should go in a sub-bullet, below the source information). Less critical issues are the long introduction (introductions are usually 2-3 sentences), and too little information in the source (usually I prefer to add the title the newspaper gave to the interview, as well as the interviewer's name). ~ MosheZadka (Talk) 06:30, 17 October 2005 (UTC)

 * I did most of the recommended cleanup. I didn't feel competent to shorten the intro, and I didn't notice an author in the second cited article. (I forgot to check the first, but I admit I don't usually include the author of a newspaper article when I have the link.) ~ Jeff Q (talk) 06:41, 17 October 2005 (UTC)

 * Thanks! I managed to find the authors' names: the first one was cleverly hiding in the intro to the article, the second one I could only get by asking for the "printable version". ~ MosheZadka (Talk) 07:03, 17 October 2005 (UTC)

title: Talk:Rachel Whiteread


text:
User talk:Mac

You seem to have added a lot of the Portal stuff from the wikipedia. I would strongly suggest that until this is in production (meaning there is wide consensus from the community for the need for portals and the way to do so), that you work on it in an out-of-main-namespace (perhaps your user space, maybe later use Wikiquote: namespace). Most importantly, please note that there is no Wikiquote Portal: namespace, contrary to what you wrote on Portal:Portal. Thanks ~ MosheZadka (Talk) 07:11, 17 October 2005 (UTC)

title: User talk:Mac


text:
Peter Freund

Peter Freund (born September 7, 1936) is a Professor Emeritus of theoretical physics at the Enrico Fermi Institute, University of Chicago.

Sourced

 * Think, for a moment, of a cheetah, a sleek, beautiful animal, one of the fastest on earth, which roams freely on the savannas of Africa. In its natural habitat, it is a magnificent animal, almost a work of art, unsurpassed in speed or grace by any other animal. Now, think of a cheetah that has been captured and thrown into a miserable cage in a zoo. It has lost its original grace and beauty, and is put on display for our amusement. We see only the broken spirit of the cheetah in the cage, not its original power and elegance. The cheetah can be compared to the laws of physics, which are beautiful in their natural setting. The natural habitat of the laws of physics is higher-dimensional space-time. However, we can only measure the laws of physics when they have been broken and placed on display in a cage, which is our three-dimensional laboratory. We can only see the cheetah when its grace and beauty have been stripped away.
 * As quoted by Michio Kaku in Hyperspace (Oxford University Press, 1994), p. 12. ISBN 0-385-47705-8.

 * Our understanding of the four basic concepts of Physics -- space, time, matter and force -- has undergone radical change in the course of work on unification, starting with Maxwell's unification of electricity with magnetism, all the way to present day string theory. What started as four independent concepts, with space and time postulated and the possible forms of matter and force arbitrarily chosen, now appear as different aspects of a rich and novel dynamically determined structure.
 * Physics and Geometry, a paper written for the Symposium on Theoretical Physics at the University of Helsinki, Helsinki, Finland on August 28, 2003 and at the Freydoon Mansouri Memorial Session of the 3rd International Symposium on Quantum Theory and Symmetries at the University of Cincinnati, Cincinnati, OH, on September 13, 2003. Report #EFI03-47.

 * Scientific collaborations are akin to marriages, or temporary marriages. Their breakup is not unlike a divorce and rarely avoids acrimony.

title: Peter Freund


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User talk:KenshinUrameshi

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title: User talk:KenshinUrameshi


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User talk:222.126.99.152

Please note that wikiquote is not a place for quotations by you or people you know. Thanks ~ MosheZadka (Talk) 16:15, 17 October 2005 (UTC)

title: User talk:222.126.99.152


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Human

''' (') also known as are. They are the extant members of the tribe, and together with chimpanzees, gorillas and orangutans, they are also part of the family (also known as the  and ). Humans are s, characterized by their erect posture and bipedal locomotion; high and heavy tool use compared to other animals; open-ended and complex language use compared to other animal communications; larger, more complex brains than other primates; and highly advanced and organized societies.

A

 * Human beings, who are almost unique in having the ability to learn from the experience of others, are also remarkable for their apparent disinclination to do so.
 * Douglas Adams, Last Chance to See (1990).

 * Capable of creating beauty, he yet seems content to dwell mostly in conditions of hopeless ugliness. Of his magnificent body he makes on the whole a travesty. His mind, as an actual potent instrument, he usually ignores altogether.
 * Vera Stanley Alder in The Fifth Dimension and the Future of Mankind (1940)

B

 * It is as one humanity, chastened, disciplined but illumined and fused, that we must emerge into the future.
 * Alice Bailey, The Destiny of Nations (1949), p. 65

 * Our species is prone to a flattering view of itself. Humans have regarded themselves as the pinnacle of creation, formed by and in the image of an omnibenevolent, omniscient, and omnipotent God, and inhabiting a planet at the center of the universe—a planet around which all others revolve. Science has done much to debunk some of these ideas. We now know that our planet is not at the center of the universe: the earth revolves around the sun rather than vice versa. And we know—or at least some of us do—that we are Johnny-come-lately products of a long, blind evolutionary process.
 * David Benatar, The Misanthropic Argument for Anti-natalism (2015), p. 35-36

 * Just one among millions of animal species – many on the brink of extinction and numerous yet to be discovered – Homo sapiens has risen from humble mammalian origins millions of years ago to become the most dominant, violent, predatory, and destructive animal on the planet.' In a journey without precedent, Homo sapiens'' evolved from vulnerable prey to apex predator, from threatened species to threatening species, from pockets of Africa to planetary domination.
 * Steven Best, "Failed Species: The Rise and Fall of the Human Empire". Romanian Journal of Artistic Creativity. 9 (2). (2021).

 * I judge people by what they might be, — not are, nor will be.
 * Robert Browning, A Soul’s Tragedy, Act II.

 * A person's lifeworm is a tangle of atomic worldlines. A braid. The dotty little atoms trace out smooth lines in spacetime: you are the pattern that these lines make up. There is no one single atom that is exclusively yours. I breathe an atom out, you breathe it in. Your garbage helps my tomatoes grow. And so the little spacetime threads weave us all together. The human race is a single vast tapestry, linked by our shared food and air. There are larger links as well: sperm, egg and umblilicus. Each family tree is an organic whole. Your spacetime body tapers back to the threads of mother's egg and father's sperm. And children, if you have them, are forever rooted in your flesh.
 * Rudy Rucker in The Sex Sphere, p. 108.

C

 * As human beings, we are part of the whole stream of life.
 * Rachel Carson, Speech (1954), in Lost Woods: The Discovered Writing of Rachel Carson (1998)

 * Measured against the vast backdrop of geologic time, the whole era of man seems but a moment—but how portentous a moment!
 * Rachel Carson, Speech at Scripps College (June 1962), in Rachel Carson: Silent Spring & Other Writings on the Environment (2018)

 * Who could have foretold that this being, who walked upright and no longer lived in trees, who lurked in caves, hiding in fear from the great beasts who shared his world—who could have guessed that he would one day have in his hands the power to change the very nature of the earth—the of life and death over so many of its creatures? Who could have foretold that the brain that was developing behind those heavy brow ridges would allow him to accomplish things no other creature had achieved-but would not at the same time endow him with wisdom so to control his activities that he would not bring destruction upon himself?
 * Rachel Carson Speech at Scripps College (June 1962) In Rachel Carson: Silent Spring & Other Writings on the Environment

 * Human life must be respected and protected absolutely from the moment of conception. From the first moment of his existence, a human being must be recognized as having the rights of a person — among which is the inviolable right of every innocent being to life.
 * (1992), 2270

 * Someday, somehow, I am going to do something useful, something for people. They are, most of them, so helpless, so hurt and so unhappy.
 * Edith Cavell, as quoted in The Economist (15 October 2010), p. 107.

D

 * If one denies human life its absolute, transcendental character, the human person loses his inalienable worthiness and his inviolable rights. Then society determines what rights are to be bestowed on a person, and the State becomes absolute lord and master.
 * Thierry Dejond, S. J., "Contraception", “Contraception”, This article originally was printed by Emmaus under the title "Contraception: a social problem.", Eternal Word Television Network, 1996

E

 * Man is, at one and the same time, a solitary being and a . As a solitary being, he attempts to protect his own existence and that of those who are closest to him, to satisfy his personal desires, and to develop his innate abilities. As a social being, he seeks to gain the recognition and affection of his fellow human beings, to share in their pleasures, to comfort them in their sorrows, and to improve their conditions of life. Only the existence of these varied, frequently conflicting, strivings accounts for the special character of a man, and their specific combination determines the extent to which an individual can achieve an inner equilibrium and can contribute to the well-being of society.
 * Albert Einstein, ' (1949), ' New York (May 1949)

 * A human being is a part of the whole, called by us "Universe," a part limited in time and space. He experiences himself, his thoughts and feelings as something separated from the rest — a kind of optical delusion of his consciousness. This delusion is a kind of prison for us, restricting us to our personal desires and to affection for a few persons nearest to us. Our task must be to free ourselves from this prison by widening our circle of compassion to embrace all living creatures and the whole nature in its beauty.
 * Albert Einstein Condolence letter to Norman Salit, 4 March 1950. Quoted in The Einstein Papers. A Man of Many Parts, 29 March 1972, The New York Times

G

 * If humanity was, the Earth would return to a paradise in a few hundred years. If we lose bees, we’re a desert, forever. We’re not that important. We’re just one species of narcissistic ape. And some people on social media get annoyed when I say we’re apes. You know, religious types, Americans.
 * Ricky Gervais, Ricky Gervais: Armageddon (transcript). December 2023.

 * O wearisome condition of humanity! Born under one law, to another bound; Vainly begot and yet forbidden vanity; Created sick, commanded to be sound.
 * Fulke Greville, Lord Brooke, Mustapha (1609), Act II, scene 2

H

 * All right. It's instinctive. But the instinct can be fought. We're human beings with the blood of a million savage years on our hands! But we can stop it. We can admit that we're killers... but we're not going to kill today. That's all it takes! Knowing that we're not going to kill - today!
 * Captain Captain James T. Kirk, as interpreted by William Shatner, in "A Taste of Armageddon", Star Trek, story by Robert Hamner; teleplay by Gene L. Coon & Robert Hamner; (February 23, 1967)

 * The sick in soul insist that it is humanity that is sick, and they are the surgeons to operate on it. They want to turn the world into a sickroom. And once they get humanity strapped to the operating table, they operate on it with an ax.
 * Eric Hoffer, The Passionate State Of Mind, and Other Aphorisms (1955), Section 124.

 * It is easier to love humanity as a whole than to love one's neighbor. ... The all-seeing eye of a totalitarian regime is usually the watchful eye of the next-door neighbor.
 * Eric Hoffer, The Ordeal of Change (1963), Ch. 11: Brotherhood.

J

 * Man that is born of a woman is of few days, and full of trouble.
 * Book of Job, 14:1 (KJV)

 * With that I heard a loud voice from the throne say: “Look! The tent of God is with mankind, and he will reside with them, and they will be his people. And God himself will be with them. And he will wipe out every tear from their eyes, and death will be no more, neither will mourning nor outcry nor pain be anymore. The former things have passed away.”
 * John the Evangelist, Revelation, 21:3-4 (NWT)

 * Human life is sacred... From its very inception it reveals the creating hand of God.
 * Pope John XXIII, "Mater et Magistra", Acta Apostolicae Sedis, 53 (1961), 447 [TPS VII, 331].

K

 * Out of the crooked timber of humanity, no straight thing was ever made.
 * Immanuel Kant,  (1784), Proposition 6.

 * Show me a man or a woman alone and I'll show you a saint. Give me two and they'll fall in love. Give me three and they'll invent the charming thing we call 'society'. Give me four and they'll build a pyramid. Give me five and they'll make one an outcast. Give me six and they'll reinvent prejudice. Give me seven and in seven years they'll reinvent warfare. Man may have been made in the image of God, but human society was made in the image of His opposite number, and is always trying to get back home.
 * Stephen King, The Stand: The Complete & Uncut Edition (1990), 3rd paragraph of Chapter 42, Glen Bateman speaking.

 * Humans are basically good. That's why it takes so much training to march march march kill kill kill kill.
 * Maxine Hong Kingston, The Fifth Book of Peace (2003)

L

 * Society is composed only of various conditions, professions, functions, and ways of life, among those who form what we call a Nation; of proprietors of the soil, and proprietors of houses; of investments, of handicrafts, of merchants, of manufacturers, of formers; of day-laborers becoming fanners, manufacturers, merchants, or possessors of houses or capital, in their turn; of the rich, of those in easy circumstances, of the poor, of workmen with their hands, workmen with their minds; of day-laborers, of those in need, of a small number of men enjoying considerable acquired or inherited wealth, of others of a smaller fortune painfully increased and improved, of others with property only sufficient for their needs; there are some, finally, without any personal possession but their hands, and gleaning for themselves and for their families, in the workshop, or the field, and at the threshold of the homes of others on the earth, the asylum, the wages, the bread, the instruction, the tools, the daily pay, all those means of existence which they have neither inherited, saved, nor acquired. These last are what have been improperly called the People.
 * Alphonse de Lamartine, Atheism Among the People, (1850) p. 19-20.

 * You know what I want to think of myself? As a human being. Because, I mean I don't want to be like "As Confucius say," but under the sky, under the heavens there is but one family. It just so happens man that people are different.
 * Bruce Lee, Bruce Lee: The Lost Interview (1971)

 * Every human heart is human.
 * Henry Wadsworth Longfellow,  (1855), Introduction, line 91.

 * Laborin' man an' laborin' woman Hev one glory an' one shame; Ev'ythin' thet's done inhuman  Injers all on 'em the same.
 * James Russell Lowell, The Biglow Papers (1848), First Series. No. 1, Stanza 10.

M

 * O mankind! If ye are in doubt concerning the Resurrection, then lo! We have created you from dust, then from a drop of seed, then from a clot, then from a little lump of flesh shapely and shapeless, that We may make (it) clear for you. And We cause what We will to remain in the wombs for an appointed time, and afterward We bring you forth as infants, then (give you growth) that ye attain your full strength. And among you there is he who dieth (young), and among you there is he who is brought back to the most abject time of life, so that, after knowledge, he knoweth naught.
 * Muhammad, Quran, 22, 5, as translated by, as translated by Marmaduke Pickthall (1930)

 * Man is (self-) destroyed: bow ungrateful! From what thing doth He create him? From a drop of seed. He createth him and proportioneth him, Then maketh the way easy for him, Then causeth him to die, and burieth him; Then, when He will, He bringeth him again to life. Nay, but (man) hath not done what He commanded him.
 * Muhammad, Quran, 80, 17–23, as translated by, as translated by Marmaduke Pickthall (1930)

 * Lo! man is in a state of loss.
 * Muhammad, Quran, 103, 2, as translated by Marmaduke Pickthall (1930)

N
equals hundreds of ours, what does that say about people?
 * If one of your people
 * Naomi Shihab Nye, Voices in the Air: Poems for Listeners (2018)

R

 * Most people aren’t as interesting as they think they are.
 * Kristine Kathryn Rusch, Safety Tests, from the e-book edition of Edge of Infinity, edited by Jonathan Strahan, and published by Solaris ISBN 978-1-84997-460-8

 * Humankind has become so much one family that we cannot ensure our own prosperity except by ensuring that of everyone else. If you wish to be happy yourself, you must resign yourself to seeing others also happy.
 * Bertrand Russell, The Science to Save Us from Science, 19 March 1950, The New York Times.

S

 * "I swear that what I went through, no animal would have gone through." This sentence, the noblest ever spoken, this sentence that defines man's place in the universe, that honors him, that re-establishes the true hierarchy, floated back into my thoughts.
 * Antoine de Saint-Exupéry, French writer. Wind, Sand and Stars

 * The people will live on. The learning and blundering people will live on.
 * Carl Sandburg, The People, Yes (1936).

 * Der Mensch kann tun was er will; er kann aber nicht wollen was er will.
 * Man can do what he wills but he cannot will what he wills.
 * Arthur Schopenhauer  (1839), as translated in The Philosophy of American History : The Historical Field Theory (1945) by Morris Zucker, p. 531
 * Variant translations:
 * Man can do what he wants but he cannot want what he wants.
 * As quoted in The Motivated Brain : A Neurophysiological Analysis of Human Behavior (1991) by Pavel Vasilʹevich Simonov, p. 198.

 * I think the destiny of all men is not to sit in the rubble of their own making but to reach out for an ultimate perfection which is to be had. At the moment, it is a dream. But as of the moment we clasp hands with our neighbor, we build the first span to bridge the gap between the young and the old. At this hour, it’s a wish. But we have it within our power to make it a reality. If you want to prove that God is not dead, first prove that man is alive.
 * Rod Serling, Speech at Moorpark College, Moorpark, California, (3 December 1968)

 * Every man’s death does diminish us. And it follows that every man’s poverty, every man’s indignity, every man’s frustration and hopelessness – they are a part of mankind.
 * Rod Serling, “The Commencement Address of Rod Serling”, Ithaca College, New York, (May 13, 1972), p. 4

 * What a piece of work is a man, How noble in reason, how infinite in faculty, In form and moving how express and admirable, In action how like an Angel, In apprehension how like a god, The beauty of the world, The paragon of animals. And yet to me, what is this quintessence of dust? Man delights not me; no, nor Woman neither.
 * William Shakespeare, Hamlet, Act II, scene 2

 * First Murderer: We are men, my liege.Macbeth: Ay, in the catalogue ye go for men; As hounds, and greyhounds, mongrels, spaniels, curs, Shoughs, water-rugs, and demi-wolves are clept All by the name of dogs: the valu’d file Distinguishes the swift, the slow, the subtle, The housekeeper, the hunter, every one According to the gift which bounteous nature Hath in him clos’d; whereby he does receive Particular addition, from the bill That writes them all alike: and so of men.
 * William Shakespeare, Macbeth, III, i

 * What is brighter than the sun? Yet it disappears. Man is no more than flesh and blood, yet he thinks of doing evil. While the sun surveys the stars in the lofty sky, human beings remain dust and ashes.
 * , 17:31-32 (NRSV)

 * A person is smart. People are dumb, panicky, dangerous animals, and you know it.
 * , interpreted by, in the film Men in Black (1997), written by.

 * Many the forms of life, Wondrous and strange to see, But nought than man appears More wondrous and more strange.
 * Sophocles, Antigone, Second Chorus, strophe 1, as translated by Edward Plumptre (1865)

T

 * Social science means inventing a certain brand of human we can understand.
 * Nassim Nicholas Taleb, The Bed of Procrustes: Philosophical and Practical Aphorisms (2010) The Sage, the Weak, and the Magnificent, p. 95.

W

 * Were I (who to my cost already am One of those strange, prodigious creatures, man) A spirit free to choose, for my own share What case of flesh and blood I pleased to wear, I’d be a dog, a monkey, or a bear, Or anything but that vain animal, Who is so proud of being rational.
 * The Earl of Rochester, "A Satyr against Reason and Mankind" (1679)

To look on nature, not as in the hour Of thoughtless youth; but hearing oftentimes The still, sad music of humanity, Nor harsh nor grating, though of ample power To chasten and subdue.''' And I have felt A presence that disturbs me with the joy Of elevated thoughts; a sense sublime Of something far more deeply interfused, '''Whose dwelling is the light of setting suns, And the round ocean and the living air, And the blue sky, and in the mind of man; A motion and a spirit, that impels All thinking things, all objects of all thought, And rolls through all things. '''
 * '''I have learned
 * William Wordsworth, in  (1798).

X

 * We declare our right on this earth to be a human being, to be respected as a human being, to be given the rights of a human being in this society, on this earth, in this day, which we intend to bring into existence.
 * Malcolm X; variant of Speech at Founding Rally of the Organization of Afro-American Unity (28 June 1964), as quoted in By Any Means Necessary: Speeches, Interviews, and a Letter, (1970)

Hoyt's New Cyclopedia of Practical Quotations

 * Quotes reported in Hoyt's New Cyclopedia of Practical Quotations (1922), p. 380.

 * Love, hope, fear, faith — these make humanity; These are its sign and note and character.
 * Robert Browning, Paracelsus, scene 3.

 * W'en you see a man in woe, Walk right up and say "hullo." Say "hullo" and "how d'ye do," "How's the world a-usin' you?" . . . . . W'en you travel through the strange Country t'other side the range, Then the souls you've cheered will know Who you be, an' say "hullo."
 * Sam Walter Foss, Hullo.

 * He held his seat; a friend to human race.
 * Homer, The Iliad, Book VI, line 18. Pope's translation.

 * Respect us, human, and relieve us, poor.
 * Homer, The Odyssey, Book IX, line 338. Pope's translation.

 * Over the brink of it Picture it—think of it, Dissolute man. Lave in it—drink of it  Then, if you can.
 * Thomas Hood, Bridge of Sighs.

 * Oh, God! that bread should be so dear, And flesh and blood so cheap!
 * Thomas Hood, Song of a Shirt.

 * For He, who gave this vast machine to roll, Breathed Life in them, in us a Reasoning Soul; That kindred feelings might our state improve, And mutual wants conduct to mutual love.
 * Juvenal, Satire XV, line 203.

 * It is good to be often reminded of the inconsistency of human nature, and to learn to look without wonder or disgust on the weaknesses which are found in the strongest minds.
 * Thomas Babington Macaulay, 1st Baron Macaulay, Warren Hastings.

 * For nothing human foreign was to him.
 * James Thomson, To the Memory of Lord Talbot, translation of "Humani nihil a me alienum puto".

 * For the interesting and inspiring thing about America, gentlemen, is that she asks nothing for herself except what she has a right to ask for humanity itself.
 * Woodrow Wilson, speech at the luncheon of the Mayor of New York, May 17, 1915.

 * Never to blend our pleasure or our pride With sorrow of the meanest thing that feels.
 * William Wordsworth, Hart-leap Well, Part II.

Respectfully Quoted: A Dictionary of Quotations

 * Quotes reported in Respectfully Quoted: A Dictionary of Quotations (1989)

 * There are people in our society who should be separated and discarded. I think it's one of the tendencies of the liberal community to feel that every person in a nation of over 200 million people can be made into a productive citizen. I'm realist enough to believe this can't be. We're always going to have our prisons, we're always going to have our places of preventive detention for psychopaths, and we're always going to have a certain number of people in our community who have no desire to achieve or who have no desire to even fit in an amicable way with the rest of society. And these people should be separated from the community, not in a callous way but they should be separated as far as any idea that their opinions shall have any effect on the course we follow.
 * Spiro T. Agnew, comments during interview for European audiences which was recorded in Washington, D.C., then broadcast over British Independent Television on June 30, 1970, as reported by The Washington Post, July 2, 1970, p. A3.

 * Where there is no vision, the people perish.
 * The Bible, Proverbs 29:18.

 * I can not wish you success in your effort to reject the treaty because while it may win the fight it may destroy our cause. My plan cannot fail if the people are with us and we ought not to succeed unless we do have the people with us.
 * William Jennings Bryan, letter to Andrew Carnegie, January 13, 1899. Bryan papers, Library of Congress. Andrew Carnegie, working to defeat the treaty of peace with Spain, unsuccessfully sought Bryan's help.

 * I am a child of the House of Commons. I was brought up in my father's house to believe in democracy. "Trust the people"—that was his message.
 * Winston Churchill, speech to a joint session of Congress, Washington, D.C., December 26, 1941. Winston S. Churchill: His Complete Speeches, 1897–1963, ed. Robert Rhodes James, vol. 6, p. 6536 (1974).

 * Your people, sir, is nothing but a great beast!
 * Attributed to Alexander Hamilton, in a political argument with Thomas Jefferson. David S. Muzzey, An American History, p. 192 (1911). For similar expressions of this idea going back to Horace, see Bartlett's Familiar Quotations, 15th ed., p. 108, no. 19 and footnotes (1982), and The Home Book of Quotations, ed. Burton Stevenson, 9th ed., p. 1483–84, section 7 (1964).

 * Would yee both eat your cake, and have your cake?
 * John Heywood, The Proverbs of John Heywood, part 2, chapter 9, p. 162 (1598, reprinted 1874, 1978). The idea that if you spend a thing you cannot have it goes back much further than Heywood's original 1546 work. Plautus wrote c. 194 B.C. in Trinummus (act II, scene iv, line 414), "Non tibi illud apparere si sumas potest" (if you spend a thing you cannot have it), translated as "You cannot eat your cake and have it too" by one Englishman. Comedies of Plautus, trans. Bonnell Thornton, 2d ed., rev., vol. 2, p. 29 (1769).

 * People don't eat in the long run—they eat every day.
 * Attributed to, who headed the Federal Emergency Relief Administration in 1933. Robert E. Sherwood, Roosevelt and Hopkins: An Intimate History, p. 52 (1948).

 * The mobs of great cities add just so much to the support of pure government, as sores do to the strength of the human body. It is the manners and spirit of a people which preserve a republic in vigor. A degeneracy in these is a canker which soon eats to the heart of its laws and constitution.
 * Thomas Jefferson, Notes on Virginia, query 19, reprinted in Andrew A. Lipscomb, ed., The Writings of Thomas Jefferson, vol. 2 (1903), p. 230.

 * A sense of this necessity, and a submission to it, is to me a new and consolatory proof that wherever the people are well informed they can be trusted with their own government; that whenever things get so far wrong as to attract their notice, they may be relied on to set them to rights.
 * Thomas Jefferson, letter to Richard Price (January 8, 1789); in Julian P. Boyd, ed., The Papers of Thomas Jefferson (1958), vol. 14, p. 420.

 * The President to-night has a dream:—He was in a party of plain people, and, as it became known who he was, they began to comment on his appearance. One of them said:—"He is a very common-looking man". The President replied:—"The Lord prefers common-looking people. That is the reason he makes so many of them".
 * Attributed to President Abraham Lincoln, December 23, 1863. John Hay, Letters of John Hay and Extracts from Diary, vol. 1, p. 142–43 (1908, reprinted 1969).

 * No democracy has ever long survived the failure of its adherents to be ready to die for it…. My own conviction is this, the people must either go on or go under.
 * David Lloyd George, address, conference of trade union delegates, London, January 18, 1918, as reported by The Times (London), January 19, 1918, p. 8.

 * I do not want the voice of the people shut out.
 * Huey Long, remarks in the Senate, May 16, 1932, Congressional Record, vol. 75, p. 10297.

 * Your country is calling you. Our people are calling us. The people of America are calling us to relieve them from the distress that has infested this entire Nation as the result of following the Cabinet officers of the present administration. Your people are asking you to deliver them from this condition that now exists. They are asking relief.
 * Huey Long, remarks in the Senate, May 16, 1932, Congressional Record, vol. 75, p. 10307.

 * If I were to attempt to put my political philosophy tonight into a single phrase, it would be this: Trust the people. Trust their good sense, their decency, their fortitude, their faith. Trust them with the facts. Trust them with the great decisions. And fix as our guiding star the passion to create a society where people can fulfill their own best selves—where no American is held down by race or color, by worldly condition or social status, from gaining what his character earns him as an American citizen, as a human being and as a child of God.
 * Adlai Stevenson, speech at Harrisburg, Pennsylvania, September 13, 1956. Stevenson, The New America, ed. Seymour E. Harris, Jr., p. 13–14 (1971).

 * We human beings constitute and reconstitute ourselves through cultural traditions, which we experience as our own development in a historical time that spans the generations. To investigate the life-world as horizon and ground of all experience therefore requires investigating none other than generativity - the processes of becoming, of making and remaking, that occur over the generations and within which any individual genesis is always already situated... Individual subjectivity is intersubjectively and culturally embodied, embedded, and emergent.
 * Evan Thompson, ''Mind in Life: Biology, Phenomenology, and the Sciences of Mind. Harvard University Press, 2010. p. 36

 * No People can be bound to acknowledge and adore the invisible hand, which conducts the Affairs of men more than the People of the United States. Every step, by which they have advanced to the character of an independent nation, seems to have been distinguished by some token of providential agency.
 * George Washington, first inaugural address, April 30, 1789. The Writings of George Washington, ed. John C. Fitzpatrick, vol. 30, p. 293 (1939).

 * People are not an interruption of our business. People are our business.
 * Walter E. Washington, mayor of Washington, D.C., c. 1971.

 * In the last analysis, my fellow countrymen, as we in America would be the first to claim, a people are responsible for the acts of their government.
 * Woodrow Wilson, address, Columbus, Ohio, September 4, 1919. The Messages and Papers of Woodrow Wilson, ed. Albert Shaw, vol. 2, p. 728 (1924).

title: Human


text:
George Noory

George Ralph Noory (born June 4, 1950) is the weekday host of the late-night radio talk show Coast to Coast AM.

Quotes

 * From the city of angels off the Pacific Ocean. Good morning, good evening, wherever you may be, across the nation, around the world. I'm George Noory. Welcome to America's most listened-to late night talk show, Coast to Coast AM.
 * Show Opener (Nightly)
 * We're not talking about dead people, we're talking about the aliens; of their ghosts!
 * February 26, 2004

 * Almost sounds like Bigfoot doesn't it?
 * December 15, 2004, while listening to a caller's dog howling on-air
 * December 15, 2004, while listening to a caller's dog howling on-air

 * I wonder if Chupacabras are...baby Mothmen?
 * January 27, 2005 Interview with Scott Corrales

 * Well, with prophecy you got to see what happens.
 * May 2, 2005

 * If they think their dead grandmother is visiting them at night, more power to them. They don't need me telling them (it's) true or not true. There are those few people who may challenge the facts and say some of the stuff may not be true. I say to them, "Chill out, relax and have an open mind."
 * Feburary 15, 2006, Wired News: Coast to Coast AM is No Wack Job

"Let me tell you even I have learned some things here I didn't know about." From Jul 19 2007. Following a round table discussion on trans-humanism.

"Did you hear today they just found Saturn's 60th moon? I will give you one million dollars of the network's money, James, if you, in the next two minutes, can name all sixty." From July 19, 2007.

"I

"Jim, humanity has always been looking for ways to improve on our suffering and improve on disease, aging and involuntary death..." July 19, 2007.

title: George Noory


text:
User talk:205.207.236.100

Deliberate vandalism can result in IP addresses being blocked from editing. ~ Kalki 18:48, 17 October 2005 (UTC)

title: User talk:205.207.236.100


text:
User talk:69.54.202.141

Deliberate vandalism can result in IP addresses being blocked from editing. ~ Kalki 19:20, 17 October 2005 (UTC)

title: User talk:69.54.202.141


text:
Doctor Zhivago (film)

Doctor Zhivago is a 1965 Italian-American film about the life of a Russian physician and poet who, although married to another, falls in love with a political activist's wife and experiences hardship during the First World War and then the October Revolution.
 * Directed by David Lean. Written by Robert Bolt, based on the novel by Boris Pasternak.

A Love Caught in the Fire of Revolution.taglines

Yevgraf Zhivago

 * In bourgeois terms it was a war between the Allies and Germany. In Bolshevik terms it was a war between the Allied and German upper classes - and which of them won was a matter of indifference.
 * on World War I
 * They [the warring powers] were shouting for victory all over Europe—praying for victory to the same God. My task—the Party's task—was to organize defeat. From defeat would spring the Revolution...and the Revolution would be victory for us
 * on World War I
 * The Party looked to the conscript peasants. Most of them were in their first good pair of boots. When the boots wore out, they'd be ready to listen. When the time came, I was able to take three battalions with me out of the front lines; the best day's work I ever did.
 * Happy men don't volunteer. They wait their turn, and thank god if their age or work delays it.
 * Even Comrade Lenin underestimated both the anguish of that nine hundred mile-long front, and our cursed capacity for suffering.
 * I told myself it was beneath my dignity to arrest a man for pilfering firewood. But nothing ordered by the Party is beneath the dignity of any man. And the Party was right: one man desperate for a bit of fuel is pathetic; five million people desperate for fuel will destroy a city.
 * on seeing Zhivago pulling wood from a fence
 * That was the first time I ever saw my brother. But I knew him. And I knew I would disobey the Party. Perhaps it was the tie of blood between us, but I doubt it; we were only half-tied anyway, and brothers will betray a brother. Indeed, as a policeman I would say get hold of a man's brother and you're half-way home. Nor was it admiration for a better man than me. I did admire him; but I didn't think he was a better man. Besides, I've executed better men than me with a small pistol.
 * She'd come to Moscow to look for her child. I helped her as best I could, but I knew it was hopeless. I think I was a little in love with her. One day she went away and didn't come back. She died or vanished somewhere, in one of the Labour Camps. A nameless number on a list that was afterwards mislaid. That was quite common in those days.
 * of Lara
 * But if people love poetry, they love poets. And nobody loves poetry like a Russian.

Viktor Komarovsky

 * No doubt they'll sing in tune after the revolution...
 * breaking the uneasy silence in an expensive restaurant caused by the singing of a Bolshevik demonstration on the street outside
 * And don't delude yourself this was rape. That would flatter us both.
 * after forcing himself on Lara
 * Yuri Andreievich, you spent two years with the partisans, fifth division. You have no discharge so you are a deserter. Your family in Paris is involved in a dangerous émigré organisation. Now all these are technicalities. But your style of life; everything you say and think, your published writings are all flagrantly subversive. Your days are numbered unless I help you. Do you want my help?
 * But don't you see her position? She's served her purpose. These men who came with me today as an escort will come for her and the child tomorrow as a firing squad! Now I know exactly what you think of me, and why. But if you're not coming with me, she's not coming with me. So are you coming with me? Do you accept the protection of this ignoble Caliban on any terms that Caliban cares to make? Or is your delicacy so exorbitant that you would sacrifice a woman and a child to it?
 * [Reeling drunk] We're all made of the same clay, you know! Clay! Claaaaay!!

Pasha Antipov / Strelnikov

 * There'll be no more peaceful demonstrations. There were women and children, Lara, and they rode them down. Starving women asking for bread. And up on Tamskaya Avenue the pigs were eating and drinking and dancing.
 * You put your knife with a fork and a spoon and it looks quite innocuous. Perhaps you travel with a wife and child for the same reason.
 * while interrogating Zhivago
 * I shouldn't admire it now. I should find it absurdly personal. Don't you agree? Feelings, insights, affections... it's suddenly trivial now. You don't agree; you're wrong. The personal life is dead in Russia. History has killed it. [...] The private life is dead - for a man with any manhood.
 * after telling Zhivago that he used to admire his poetry

Amourski

 * Long Live Anarchy! Lickspittle! Bureaucrat!
 * I am a free man, Lickspittle, and there's nothing you can do about it. I am the only free man on this train. The rest of you are cattle!

Gromeko

 * A body, styling itself the Yuriatin Committee of Revolutionary Justice, has expropriated my house. In the name of the people. Very well. I'm one of the people too! [He picks up a shovel and makes to force his way in.]
 * They've shot the Czar, and all his family. Oh, that's a savage deed.

Dialogue

 * Engineer: If they were to give me two more excavators, I'd be a year ahead with the plan by now.
 * Yevraf: You're an impatient generation.
 * Engineer: Weren't you?
 * Yevgraf: Yes, we were. Very. Oh, don't be too impatient, Comrade Engineer; we've come very far, very fast.
 * Engineer: Yes, I know that Comrade General.
 * Yevgraf: Yes, but do you know what it cost..? There were children in those days who lived off human flesh, did you know that?

 * Yevgraf: This is a new edition of the Lara poems.
 * Engineer: Yes, I know. We admire your brother very much.
 * Yevgraf: Yes, everybody seems to.. now.
 * Engineer: Well, we couldn't admire him when we weren't allowed to read him...
 * Yevgraf: ...No.

 * The Girl: I'm not your niece, Comrade General.
 * Yevgraf: Well, I'm nobody's idea of an uncle, but if this man were my father, I should want to know.

 * Lara: I-I'm going now, Viktor.
 * Komarosvsky: Whenever you like dear. You see, you'll always come back.

 * [Komarovsky meets Lara's future husband.]
 * Komarovsky: Pavel Pavlovich; my chief impression - and I mean no offence - is that you're very young.
 * Pasha Antipov: Monsieur Komarovsky; I hope I don't offend you. Do people improve with age?
 * Komarovsky: They grow a little more tolerant.
 * Pasha Antipov: Because they have more to tolerate in themselves. If people don't marry young, what do they bring to their marriage?
 * Komarovsky: A little experience.

 * Komarovsky: [speaking of Pasha Antipov] Lara, I am determined to save you from a dreadful error. There are two kinds of men, and only two, and that young man is one kind. He is high-minded. He is pure. He is the kind of man that the world pretends to look up to and in fact despises. He is the kind of man who breeds unhappiness; particularly in women. Now, do you understand?
 * Lara: No.
 * Komarovsky: I think you do. There's another kind. Not high-minded. Not pure. But alive. Now that your taste at this time should incline towards the juvenile is understandable. But for you to marry that boy would be a disaster. Because there's two kinds of women. [Lara puts her hands to her ears; he snatches them away] There are two kinds of women and you - as we well know - are not the first kind. [Lara slaps him. He slaps her back, harder] You, my dear, are a slut.
 * Lara: I am not!
 * Komarovsky: We'll see.

 * [the camera shows a group of dejected-looking Russian soldiers in a trench, staring out across a snowy no-man's land during World War I as Yevgraf narrates]
 * Yevgraf: "By the second winter of the war, the boots had worn out... but the line still held. Their great coats fell to pieces on their backs. Their rations were irregular. Half of them went into action without arms, led by men they didn't trust."
 * Officer: [leaps up on top of trench with a saber drawn] Come on, you bastards!
 * Yevgraf: "And those they did trust..."
 * Pasha: [jumps out of the trench waving his rifle] Come on, comrades! Come on!
 * [the Russian soldiers hesitantly follow Pasha as the German guns open fire]
 * Pasha: Come on! Comrades! Earth-shakers! SHOW THEM! CHARGE!
 * [Pasha is hit by several artillery explosions; the rest of the Russian soldiers retreat back to their trench. Cut to Russian soldiers beginning to leave their trenches and desert.]
 * Yevgraf: "At last, they did what all the armies dreamed of doing - they began to go home. That was the beginning of the Revolution."

 * Lara: You know, you often look at me as if you knew me.
 * Yuri: I have seen you before. Four years ago. Christmas Eve. [when Lara shot Komarovsky at a party which Zhivago was attending]
 * Lara: Were you there? No wonder you look at me. Did you know Viktor Komarovsky?
 * Yuri: Yes I did. That young man who took you away -
 * Lara: My husband.
 * Yuri: Lot of courage. He made the rest of us look very feeble. As a matter of fact, I thought you both did. Good man to shoot at.
 * Lara: I'd give anything never to have met him.

 * Sergei: This Lenin - will he be the new Czar, then?
 * Kuril: Listen Daddy - no more Czars! No more masters! Only workers in a workers' state! How about that?!

 * [Yevgraf meets Yuri and his family. Whilst Yevgraf appears on the screen, we never hear his on-screen words but his voice-over instead.]
 * Yevgraf: "I told them who I was. The old man was hostile, the girl, cautious. My brother... seemed very pleased. I think the girl was the only one who guessed at their position."
 * Yuri: You're just as I imagined you. You're my political conscience.
 * Yevgraf: "I asked him - hadn't he one of his own? [laughs] And so he talked about the revolution."
 * Yuri: You lay life on a table and you cut out all the tumours of injustice. Marvellous.
 * Yevgraf: "I told him if he felt like that he should join the party."
 * Yuri: Ah, but cutting out the tumours of injustice - that's a deep operation. Someone must keep life alive while you do it. By living. Isn't that right?
 * Yevgraf: "I thought then it was wrong. He told me what he thought about the party and I trembled for him. He approved of us, but for reasons which were subtle, like his verse. Approval such as his could vanish overnight. I told him so."
 * Yuri: Well, of course I can't approve this evening something you may do tomorrow.
 * Yevgraf: "He was walking about with a noose round his neck and didn't know. So I told him what I'd heard about his poems."
 * Yuri: Not... liked? Not liked by whom? Why not liked?
 * Yevgraf: "So I told him that."
 * Yuri: Do you think it's "personal, petit-bourgeoise and self-indulgent"?
 * [On the screen, Yevgraf nods and says "yes".]
 * Yevgraf: "I lied. But he believed me, and it struck me through to see that my opinion mattered. The girl knew what it meant, what it was going to mean. They couldn't survive what was coming in the city. I urged them to leave and live obscurely somewhere in the country where they could keep themselves alive."
 * Tonya: We have - used to have - an estate at Varykino, near Yuriatin. People know us there.
 * Yevgraf: "He didn't resist. I offered to obtain permits, passes, warrants; I told them what to take, and what to leave behind. I had the impertinence to ask him for a volume of his poems. And so we parted. I think I even told him that we would meet again in better times... but perhaps I didn't."

 * [Zhivago has been captured by Partisans.]
 * Partisan Commander: Comrade Doctor, I need a medical officer.
 * Zhivago: I'm sorry, I have a wife and child in Varykino-
 * Commissar: And a mistress in Yuriatin.
 * [The commander laughs.]
 * Partisan Commander: Comrade Medical Officer, we are Red Partisans, and we shoot deserters.

 * Partisan Commander: I command this unit!
 * Commissar: We command jointly! The Party bulletin expressly states-
 * [The Commander knocks the Commissar's papers off the table.]
 * Partisan Commander: Bah! I could have you taken out and shot!
 * Commissar: And could you have the Party taken out and shot?

 * [Komarovsky arrives in Yuriatin.]
 * Zhivago: I think you'd better go.
 * Komarovsky: Your rarified selfishness is intolerable. Larissa's in danger too.
 * Zhivago: By association with me?!
 * Komarovsky: No, not by association with you; you're small fry. By association with Strelnikov.
 * Lara: I've never met Strelnikov.
 * Komarovsky: You're married to Strelnikov! They know that.
 * Lara: I was married to Pasha Antipov.
 * Komarovsky: I understand, I understand... but they don't.

 * [Komarovsky returns.]
 * Komarovsky: Strelnikov is dead.
 * Zhivago: What?!
 * Komarovsky: Spare me your expressions of regret. He was a murderous neurotic of no use to anyone. Do you see how this affects Larissa? You don't. You're a fool. She's Strelnikov's wife. Why do you think they haven't arrested her – is this the usual practice? Why do you think they had her watched at Yuriatin? They were waiting for Strelnikov.
 * Zhivago: If they thought Strelnikov would come running to his wife, they didn't know him...
 * Komarovsky: They knew him well enough. He was only five miles from here when they caught him. He was arrested on the open road. He didn't conceal his identity – indeed throughout the interview he insisted they call him Pavel Antipov, which is his right name, and refused to answer to the name Strelnikov. On his way to execution he took a pistol from one of the guards and blew his own brains out.
 * Zhivago: Oh my god... don't tell Lara this.
 * Komarovsky: I think I know Lara at least as well as you. But don't you see how this affects her position? She's served her purpose. These men that came with me today as an escort will come for her and the child tomorrow as a firing squad! Now, I know exactly what you think of me, and why, but if you're not coming with me she's not coming with me. So – are you coming with me? Do you accept the protection of this ignoble Caliban on any terms that Caliban cares to make... or is your... delicacy... so exorbitant that you would sacrifice a woman and a child to it?

 * Yevgraf: This man was your father. Why won't you believe it? Don't you want to believe it?
 * The Girl: Not if it isn't true.
 * Yevgraf: That's inherited...

 * Yevgraf: Tonya - can you play the balalaika?
 * David: [her boyfriend] Can she play?! She's an artist!
 * Yevgraf: And who taught you?
 * David: No-one taught her!
 * Yevgraf: Ah... then it's a gift.

Taglines

 * A Love Caught in the Fire of Revolution.
 * In a world of guns and ice there is the great noise of battle and the greater silence of lovers.
 * Turbulent were the times and fiery was the love story of Zhivago, his wife and the passionate, tender Lara.

Cast

 * Omar Sharif — Dr. Yuri Zhivago
 * Alec Guinness — General Yevgraf Zhivago
 * Julie Christie — Larissa "Lara" Antipova
 * Geraldine Chaplin — Tonya Gromeko
 * Rod Steiger — Viktor Komarovsky
 * Tom Courtenay — Pasha Antipov AKA "Strelnikov"
 * Rita Tushingham — The Girl, Tonya Komarovsky, Lara's and Yuri's daughter
 * Klaus Kinski — Kostoyed Amourski, the anarchist

title: Doctor Zhivago (film)


text:
The Whole Nine Yards (film)

The Whole Nine Yards is a 2000 film about a struggling dentist in Canada, who discovers that his new neighbor is hitman Jimmy "The Tulip" Teduski. In an attempt to get him killed, his wife convinces him to go to Chicago and inform the mob boss who wants Jimmy dead.
 * Directed by Jonathan Lynn. Written by Mitchell Kapner.

In the heart of suburbia, a hit man with heart has just moved in.taglines

Jimmy "The Tulip" Tudeski

 * It's not important how many people I've killed. What's important is how I get along with the people who are still alive.
 * Everybody dies. Sooner or later.
 * I'm gonna keep the coke and the fries but I'm gonna send this burger back. And if you put any mayonnaise on it, I'm gonna come over to your house, I'll chop your legs off, set fire to your house, and watch as you drag your bloody stumps out the door.
 * Every red-blooded American knows that the only condiment that you are ever supposed to put on a hamburger is KETCHUP! Or MAYBE some of that SPECIAL SAUCE you like so much here in Canada; which I think has a little bit of mayonnaise in it too! But I swear to God when they start slapping that mayonnaise on there I could kill somebody.
 * The great and powerful Oz.
 * Friends do not engage in sexual congress with each other's wives.
 * I'm telling you this like a friend because if you screw this up - I would hate to... I would really hate to have to kill you. I would hate it more than mayonnaise. You know how much I hate mayonnaise.
 * You know this whole... sneaking into the house thing, to try to kill me? You guys are really good! You really... heh heh heh... bye, Janni! [shoots Janni in the head]

Nicholas "Oz" Oseransky

 * Room service? Yes this is room 519. I'm gonna need a bigger bottle of Scotch!
 * Uh... it's room service. Before I vomited I ordered scotch.
 * Oh, and don't forget the body!
 * OK, OK. Let's say that he did make a pass at you. The guy's been in prison for five years. He's desperate. He'd sleep with a meat grinder.
 * [Watches from behind a two-way mirror as Sophie sobbingly confesses to trying to murder him] This would be sad if it wasn't so pathetic.
 * [The phone rings, Oz is startled] Phone!..[The phone rings again]..There it is again!
 * You know what I'm going to do...I'm...I'm gonna...I'm gonna go! [Oz attempts to open the side door but fails] ...does this slide?

Jill St. Claire

 * I'm still a virgin. I mean I haven't killed anyone yet.
 * [on Sophie] You know, you'd be doing the world a favor if you just had her whacked.

Franklin "Frankie Figs" Figueroa

 * [every time Oz doesn't answer, Frankie hits him in the stomach or kidneys, then hugs him to stop him collapsing] My brother, believe me, you don't want to dance with me all night.
 * Oz, I just wanted to be sure it was you. Everybody's inside. By the way, [grabs his crotch] Huevos grandes, amigo!
 * [to Jill] You know, I can't think of nothing finer than a fine naked woman holding a gun. You know you're just all kinds of fine, don't you?

Others

 * Sophie Oseransky: You do this for me, and I give you your divorce. And if you don't do this for me, I swear I'll make your life so damn miserable it will make these past few years look like a pleasure cruise.
 * Janni Gogolack: My father is a great man. A man of wision, and character. A man who stood up for his beliefs. Unlike that rat FUCK, piece of SHIT... Tudeski.
 * Janni Gogolack: Ansfer dat.

Dialogue

 * Jill: Your wife is not a nice person.
 * Oz: You're expecting an argument?

 * Jimmy: You like living in Canada?
 * Oz: No, I live here with my wife.
 * Jimmy: I take it you're not Canadian.
 * Oz: Only by marriage.

 * Jimmy: You're a dentist?
 * Oz: Afraid so.
 * Jimmy: You suicidal?
 * Oz: Why would you say that?
 * Jimmy: Well, I read that dentists are prone to suicide.
 * Oz: Look, Jimmy, I may hate my life, but I certainly don't want to die.

 * Jimmy: [after Oz makes him laugh] You sure you're a dentist?
 * Oz: Yeah. Why?
 * Jimmy: Because I've never met a dentist I liked.
 * Oz: Well, I try to keep things as painless as possible.
 * Jimmy: Me too.

 * Jill: [on the phone, as his wife is driving him to the airport] Are you going alone?
 * Oz: Yes.
 * Jill: Good, can you do me a huge favor while you're there? Go out, and get laid.
 * Oz: Jill! [covers the phone]
 * Jill: And call me the second you get back. Better yet, call me right after. Call me during! I want all the details!

 * Oz: [after Frankie beats a confession out of Oz] I MAY know where he is.
 * Frankie: Well, all right. But don't tell me. Let's go tell Janni.
 * Oz: Okay. You mind if I piss a little blood first?
 * Frankie: Please, by all means.

 * Frankie: Aren't you gonna cry out for help?
 * Oz: Would it do any good?
 * Frankie: ...No.

 * Frankie: You what? You told Jimmy? What the hell did you do that for?
 * Oz: I felt sorry for him! I like him. Well, I liked him?
 * Frankie: So you don't like him no more?
 * Oz: Well, it's a little hard to maintain a friendship with a man who wants to kill you.
 * Frankie: If you sold my ass out to Janni, then told me about it, I'd want to ice your ass, too!
 * Oz: I know. [Frankie sucks on his teeth] You know, I can close that gap for you.
 * Frankie: Really?
 * Oz: Yeah, you'd be in and out.
 * Frankie: You're kidding. This thing right here?

 * Janni: I vant you to understand, when it comes to Yimmy Tudeski, we're not talking about a human being. We're talking about a rodent! We're talking about wermin! [pause] Where was I?
 * Oz: Wermin, I think. Wermin.
 * Janni: We're talking about someone - FUCK THAT! - some THING that doesn't deserve to be breathing. The AIR!

 * Cynthia: Have you vomited recently?
 * Oz: A minute ago. I was just gonna brush my teeth.
 * Cynthia: I'll wait.

 * Cynthia: Promise me something.
 * Oz: Anything.
 * Cynthia: You'll go slow. I haven't made love in five years.
 * Oz: Neither have I. I've been married.

 * Oz: I swear, I am not gonna let anybody kill you.
 * Cynthia: Under the circumstances, I think that's probably the most romantic thing anyone's ever said to me.
 * Oz: Thanks.

 * Cynthia: But he knows I don't want to be married to him any more, and like I said, he doesn't believe in divorce.
 * Oz: But murder he's okay with?
 * Cynthia: It's what he does.

 * Oz: All right, maybe he won't come after us. Maybe he'll just let us go. [Cynthia just looks at him] All right, maybe I can talk with him, reason with him. I mean, we're friends now, right?
 * Cynthia: That's what Harry Lefkowitz thought.
 * Oz: What happened to Harry Lefkowitz? [Cynthia just looks at him] I don't want to know what happened to Harry Lefkowitz.

 * Oz: He sa... he said you guys haven't even met.
 * Sophie: Who you going to believe? A contract killer or your wife?
 * Oz: Do I have to answer that?

 * Jill: You don't like the Walther?
 * Jimmy: I think you should go with what you're comfortable with.
 * Jill: It's what James Bond uses.
 * Jimmy: Really?
 * Jill: Yeah.

 * Jimmy: [speaking about 'Oz'] You are the most chivalrous guy I've ever met.
 * Jill: Do you see why I couldn't kill him?

 * Janni: You know I have this same car?
 * Oz: Really?
 * Janni: No.

 * Oz: Damn it, Jimmy. Why the hell did you have to go and move in next door to me?
 * Jimmy: Oz, do you know what kind of soil they have in this back yard? I've been here two days and I've got little tomato plants...
 * Oz: Oh my God.

 * Janni: Expecting a call?
 * Cynthia: Explain to me how that's any of your business.

 * Jimmy: [After Oz tells him he is in love with Cynthia, over the phone] Will you listen to yourself? What are you talkin' about, you love her? You just met her! [to Frankie] He said he's in love with Cynthia!
 * Frankie: No shit!
 * Jill: So SHE'S the one!
 * Jimmy: She's the one what?
 * Jill: The one he schtupped in Chicago!
 * Jimmy: The one he... [to Oz] My wife? You shtupped my wife, Oz?
 * Oz: I wouldn't exactly phrase it that way, exactly...
 * Jimmy: [with increasing anger] No, no, no! Let me get this straight; you went down to Chicago and engaged in sexual CONGRESS with my wife?! Is that you're telling me?!
 * Jill: Jimmy, Jimmy, calm down!
 * Jimmy: [now livid] IS IT? I SWEAR TO GOD...!
 * [Jill takes the phone from Jimmy]
 * Oz: [to Cynthia] He's a little upset. I've managed to upset a mass murderer.
 * Jimmy: TELL ME WHERE YOU ARE! [to Jill] Get him to tell you where the fuck he is! [into phone] JUST STAY RIGHT THERE! [Jill takes the phone away] It's a DISGRACE...
 * Jill: [into phone] Oz, you stud, you!
 * Frankie: Gonna be a dead stud.

 * Jimmy: I'll tell you one thing. You got balls.
 * Oz: Yeah. Who knew?

 * Cynthia: You really meant it, didn't you? What you said?
 * Oz: About loving you? Of course! What did you think this was all about?
 * Cynthia: [shrugs] Sex. I mean, GREAT sex...
 * Oz: [chuckling] It was pretty good... Is that all this has meant to you?
 * Cynthia: Don't get me wrong, Oz. I like you a lot...
 * Oz: Well, that's great to hear, but I've got news for you. I don't generally go around risking my life for people who just like me.

 * Jimmy: But just so you know, I am disappointed, Oz. I am extremely disappointed with you.
 * Oz: Believe me, you are the last person I would ever want to disappoint, but everything I everything I did, was for love.
 * Jimmy: Yeah, whatever.

 * Jimmyi: You're a lucky guy, Oz.
 * Oz: Why would you say that?
 * Jimmy: You're about to find out if the woman you love loves you. You know, if it were me, in her position, I'd just take the money and run.
 * Oz: So what are you betting on?
 * Jimmy: I'm betting on love. Love for you means money for me. And like I said before, I'd really hate to have to kill you.

 * Oz: [After Jimmy shoots Frankie] Why...why...why? Why did you kill him?
 * Jimmy: Well, I had to kill one of you.
 * Oz: Well, then you definitely made the right decision. But why did you have to kill him?

Taglines

 * In the heart of suburbia, a hit man with heart has just moved in.
 * Life's a comedy. It's all in the execution.

Cast

 * Bruce Willis - Jimmy 'The Tulip' Tudeski
 * Matthew Perry (actor) - Nicholas 'Oz' Oseransky
 * Rosanna Arquette - Sophie Oseransky
 * Michael Clarke Duncan - Franklin 'Frankie Figs' Figueroa
 * Natasha Henstridge - Cynthia Tudeski
 * Amanda Peet - Jill St. Claire
 * Kevin Pollak - Janni Pytor Gogolak
 * Harland Williams - Special Agent Steve Hanson

title: The Whole Nine Yards (film)


text:
The Venture Bros.

The Venture Bros. (2003–2018) is an American adult animated television series created by Jackson Publick and written by Publick and Doc Hammer. It chronicles the adventures of two dopey teenage boys Hank and Dean, their mediocre "super-scientist" father (and former boy adventurer) Dr. Thaddeus "Rusty" Venture, and their secret-agent bodyguard Brock Samson. In September 2020, the series was cancelled after 7 seasons.

The Terrible Secret of Turtle Bay

 * (Dr. Venture and the boys run into the hangar. Brock is wrestling with a mummy.)
 * Brock: Stay back! Another one of those mummies got stuck in our landing gear.
 * Mummy: Who dares to desecrate the sacred tomb of- oof!
 * (Brock kicks the mummy in the groin and then proceeds to beat him as the mummy protests.)
 * Mummy: Ow! Hey, hey! Wait a minute. (Brock breaks the mummys arm.) There's no reason to - aarghhh! (Brock delivers a karate chop to the throat.) Oof! Ow, oh, hey!
 * Hank: Holy toledo, he ripped on him!
 * Dean: Way to give him a little chin music Brock!
 * Dr. Venture: Well that ought to take care of tha-
 * Dean: Look, Brock still ain't done with him!
 * (Brock unzips his pants and preceeds to urinate on the mummy.)
 * Hank: That's showing him who's boss, Brock-O!
 * Dr. Venture: Was that really necessary?
 * Brock: You have to defile a mummy completely or they'll come back to life. You know that.

 * UN Guard: Sir, I'm going to have to ask you to turn in your weapon.
 * Dr. Venture: It's all right, soldier. Mr. Samson is my bodyguard.
 * UN Guard: Just the same, doctor. I'm going to have to confiscate it from you.
 * Brock: (growls furiously) Go ahead. (gives a horrible grin) Take it from me.
 * (Guard looks back to another guard, who shakes his head in absolute fear.)

Seasons

 * Season 1
 * Season 2
 * Season 3
 * Season 4
 * Season 5
 * Season 6
 * Season 7

title: The Venture Bros.