http://moviequotes.intox.in/

Do drop in!

Stanley: War? Who are we at war with?
Gabriel: Anyone who impinges on America’s freedom. Terrorist states, Stanley. Someone must bring their war to them. They bomb a church, we bomb 10. They hijack a plane, we take out an airport. They execute American tourist, we tactically nuke an entire city. Our job is to make terrorism so horrific that is becomes unthinkable to attack Americans.

Gabriel: You know what the problem with Hollywood is? They make shit. Unbelievable, unremarkable shit. Now I’m not some grungy wannabe filmmaker that’s searching for existentialism through a haze of bong smoke or something. No, it’s easy to pick apart bad acting, short-sighted directing, and a purely moronic stringing together of words that many of the studios term as “prose”. No, I’m talking about the lack of realism. Realism; not a pervasive element in today’s modern American cinematic vision. Take Dog Day Afternoon, for example. Arguably Pacino’s best work, short of Scarface and Godfather Part 1, of course. Masterpiece of directing, easily Lumet’s best. The cinematography, the acting, the screenplay, all top-notch. But… they didn’t push the envelope. Now what if in Dog Day, Sonny REALLY wanted to get away with it? What if – now here’s the tricky part – what if he started killing hostages right away? No mercy, no quarter. “Meet our demands or the pretty blonde in the bellbottoms gets it the back of the head.” Bam, splat! What, still no bus? Come on! How many innocent victims splattered across a window would it take to have the city reverse its policy on hostage situations? And this is 1976; there’s no CNN, there’s no CNBC, there’s no internet! Now fast forward to today, present time, same situation. How quickly would the modern media make a frenzy over this? In a matter of hours, it’d be biggest story from Boston to Budapest! Ten hostages die, twenty, thirty; bam bam, right after another, all caught in high-def, computer-enhanced, color corrected. You can practically taste the brain matter. All for what? A bus, a plane? A couple of million dollars that’s federally insured? I don’t think so. Just a thought. I mean, it’s not within the realm of conventional cinema… but what if?

Gabriel: Have you ever heard of Harry Houdini? Well he wasn’t like today’s magicians who are only interested in television ratings. He was an artist. He could make an elephant disappear in the middle of a theater filled with people, and do you know how he did that? Misdirection.
Stanley: What the fuck are you talking about?
Gabriel: Misdirection. What the eyes see and the ears hear, the mind believes.

Axel Torvalds: He exists in a world beyond your world. What we only fantasize, he does. He lives a life where nothing is beyond him. But you know what? It’s all a facade. For all his charm and charisma, his wealth, his expensive toys… he’s a driven, unflinching, calculating machine. He takes what he wants, when he wants… and disappears.

– Swordfish

Jack Sparrow: [to Elizabeth] You know, these clothes do not flatter you at all. It should be a dress or nothing. I happen to have no dress in my cabin.

Will Turner: …then I’ll return here to marry you.
Elizabeth Swann: Properly.
Will Turner: Eagerly, if you’ll still have me.
Elizabeth Swann: If it weren’t for these bars, I’d have you already.

Ragetti: [studies his upside-down Bible intently, then looks up] Well, I say it was divine providence what escaped us from jail.
Pintel: And *I* say it was me bein’ clever.
[turns to the dog with the keys]
Pintel: Ain’t that right, Poochie?
Ragetti: How do you know it wasn’t divine providence what inspired you to *be* clever?

Will Turner: What vexes all men?
Tia Dalma: What, indeed.
Gibbs: The sea…?
Pintel: Sums…?
Ragetti: The dichotomy of good and evil…?
Jack Sparrow: A woman!

Lord Cutler Beckett: Every man has a price which he will willingly accept, even for that which he hopes never to sell.

– Pirates of the Caribbean: Dead Man’s Chest

Joel: If only I could meet someone new. I guess my chances of that happening are somewhat diminished, seeing that I’m incapable of making eye contact with a woman I don’t know.

Mary: I wanted to understand as much as I could about the procedure as possible… I think it’s important for my job to understand the inner workings of the work that we do, well not that I do, but the work that is done by people where I also work, the work of my colleagues.

Clementine: Sometimes I don’t think people realize how lonely it is to be a kid.

Carrie: You’re stoned and you’re driving.
Rob: Pot balances me out. Pot brings me up. That’s I smoke it if I’m going to be drinking.

- Eternal Sunshine of the Spotless Mind

Matthew: Moral fiber. So, what is moral fiber? It’s funny, I used to think it was always telling the truth, doing good deeds, basically
[mumbling]
Matthew: being a fucking boy scout. But lately I’ve been seeing it differently. Now I think moral fiber’s about finding that one thing you really care about. That one special thing that means more to you than anything else in the world. And when you find her, you fight for her. You risk it all, you put her in front of everything, your life, all of it. And maybe the stuff you do to help her isn’t so clean. You know what? It doesn’t matter. Because in your heart you know, that the juice is worth the squeeze. That’s what moral fiber’s all about.

Matthew: Do you have the fever?
Klitz: No. Why? Do you?
Matthew: I don’t know. Maybe.
[turns to Eli]
Matthew: ‘Bout you?
Eli: I just gotta fuck something.

Kelly: You wanna be president? Lemme tell you the first rule of politics; Always know if the juice is worth the squeeze. You know what that means? It means you don’t steal my girl unless you’re ready to accept the consequences.

–The Girl Next Door