Friday, September 12, 2014
Thursday, September 11, 2014
Monday, September 8, 2014
The following is a quote from the film, The Fugitive, which had me thinking about the point of this post.
Marshal Biggs: This is hinky. This guy's a college graduate, he went to medical school, he's not gonna come through all the security, go to the county lockup, to find someone his own people say does not exist. Hinky.
Deputy Marshal Samuel Gerard: Well, what does that mean Biggs, 'hinky'?
Marshal Biggs: I don't know. Strange.
Marshal Henry: Weird.
Deputy Marshal Samuel Gerard: Well, why don't you say strange or weird? I mean hinky, that has no meaning.
Marshal Biggs: Well, we say hinky.
Deputy Marshal Samuel Gerard: I don't want you guys using words around me that have no meaning. I'm taking the stairs and walking.
Marshal Biggs: [sotto voice] How about 'bullshit?' How about 'bullshit', Sam?
Was hinky, which "has no meaning," a pet peeve for Samuel Gerard. I think so.
Well, I thought I'd share a pet peeve of an expression I've heard used often, which, for me, has no meaning; it's empty, with nothing to sink your teeth into, a cop out.
The expression: It is what it is...
What is? How poor many are, children with cancer or autism, world conflict ... What is its meaning?
To me, it's throwing one's arms into the air, evading trying to understand the underlying meaning of any or anyone's situation. Is the observer feeling so helpless or paralyzed to do something about it, so It is what it is?
It's a blanket statement which leaves no understanding or empathy to what It Is. It seems to me, that many of us would rather face the truth -- good, bad, or ugly -- while others just don't have the time to understand what is more than meets the eye, or just bury their heads in the sand.
Life is complicated with limitless shades of gray. Would we say Robin Williams' suicide by asphyxiation is what it is, or do we try to understand the pain he was in to resort to such an ending to his life.
Yes, I find a lack of empathy and caring in making the blanket statement, it is what it is. There's no feeling, no compassion, no commitment. Honestly, I'm tired of hearing it. Life just isn't that simple.
I wholeheartedly agree with the above, "It is what it is. But you have the power to turn it into an isn't."
The Fugitive Opening Theme
Thursday, September 4, 2014
(CNN) -- Comedian Joan Rivers died in a New York hospital Thursday afternoon, a week after suffering cardiac arrest during a medical procedure, her daughter said.
"She passed peacefully at 1:17 p.m. surrounded by family and close friends," Melissa Rivers said in a written statement.
The funeral for Rivers will be at Temple Emanu-El in Manhattan on Sunday, according to temple spokeswoman Elizabeth Fezrine. Details, including the time and if the public will be allowed to attend, are not yet known, she said.
Rivers, 81, had been on life support at Manhattan's Mount Sinai hospital, where she was taken after she stopped breathing at the Yorkville Endoscopy clinic last Thursday. Rivers was undergoing an apparently minor elective procedure at the clinic when she suffered cardiac and respiratory arrest, according to the New York Fire Department.
Her death also has triggered an investigation by the New York medical examiner's office, its spokeswoman, Julie Bolcer ,told CNN. "The cause and manner of death will be announced at some point," she said.
The Rivers family made very little information about her medical condition public, finally confirming Tuesday that she was on life support. "My son and I would like to thank the doctors, nurses, and staff of Mount Sinai Hospital for the amazing care they provided for my mother," her daughter said. "Cooper and I have found ourselves humbled by the outpouring of love, support, and prayers we have received from around the world. They have been heard and appreciated.' Melissa Rivers and her son Cooper have spent the past week by Rivers' hospital bedside, rushing there last Thursday when they learned of her illness.
'My mother's greatest joy in life was to make people laugh," Melissa Rivers said. "Although that is difficult to do right now, I know her final wish would be that we return to laughing soon."
The clinic has not responded to repeated calls from CNN about the state's investigation.
Yorkville Endoscopy's website says it is an "ambulatory surgical center" that has been "approved by the Department of Health." The description of its accreditations is blank.
"Yorkville Endoscopy is a state of the art facility, staffed by highly experienced endoscopists whose mission is to provide safe and compassionate care to patients and their families," the website says.
Tributes to Rivers and her long career included one from former first lady Nancy Reagan, whose close circle of friends included Rivers. "Joan Rivers was not only a dear friend, but one of the kindest and funniest people I ever knew," Reagan said. "I doubt there's anyone who hasn't laughed at her or with her until they cried. Today our tears are those of sadness. I know I join millions in saying, 'Thanks for the good times Joan, we will truly miss you.' My love and deepest sympathy go to Melissa and Cooper."
Former CNN host Larry King knew Rivers for 45 years. "She knew no boundaries," King said. "Everything was funny to her. You couldn't' really object because she took no prisoners."
Donald Trump, who chose her as the winner on a season of "Celebrity Apprentice," said Rivers "was stronger at the end than she was at the beginning. She had unbelievable stamina."
Ryan Seacrest, who worked with her on E! shows, called Rivers "a trailblazer in so many ways."
Liza Minnelli said Rivers was "my dear friend." "I will miss her but I will always remember the laughter and friendship she brought into my life," Minnelli said.
E! and NBCUniversal, producers of River's TV show "Fashion Police," sent condolences to her family on "this incredibly sad day." "For decades Joan has made people laugh, shattered glass ceilings and revolutionized comedy," the studio said.
"She was unapologetic and fiercely dedicated to entertaining all of us and has left an indelible mark on the people that worked with her and on her legions of fans. She's been a much beloved member of the E! family for over 20 years and the world is less funny without her in it. Today our hearts are heavy knowing Joan will not be bounding through the doors."
Joan Rivers Interview
Tuesday, September 2, 2014
The Independent Filmmaker Project (IFP), Manhattan, New York, champions the future of the independent storytelling community..."
"The Independent Filmmaker Project (IFP) http://www.ifp.org/ champions the future of storytelling by connecting artists with essential resources at all stages of development and distribution. IFP fosters a vibrant and sustainable independent storytelling community, represents a growing network of 10,000 storytellers around the world, and plays a key role in developing 350 new feature and documentary works each year. During its 35-year history, IFP has supported over 8,000 projects and offered resources to more than 20,000 filmmakers, including Debra Granik, Miranda July, Michael Moore, Dee Rees, and Benh Zeitlin."
Member from 2000-2005
Founded in 1979, IFP is the larges and oldest not-for-profit dedicated to independent film." More info at www.ifp.org.
"Programs help filmmakers navigate the industry, develop new audiences, and encourage close interaction between all participants."
- Independent Film Week Formerly known as the IFP Market, Independent Film Week is the oldest and largest forum in the U.S. for the discovery of new projects in development from both established filmmakers and new voices on the independent scene. Read more…
- Independent Filmmaker Labs The Independent Filmmaker Labs is IFP’s unique year-long mentorship program supporting first-time feature directors when they need it most: through the completion, marketing and distribution of their films. Read more…
- Gotham Independent Film Awards Launched in 1991, the Gotham Independent Film Awards are selected by distinguished juries and presented in New York City, the home of independent film. They are the first honors of the film awards season. Read more…
- Fiscal Sponsorship Individuals, foundations, corporations or government organizations often require a trustworthy supervising intermediary when donating funds to projects. IFP serves as such through its Fiscal Sponsorship Program. Read more…
- International IFP has official partnerships with some of the most important international co-production markets and festivals in the world. Read more…
15. Blood Simple (1984), d. Joel CoenThe Coen Brothers launched themselves upon an unsuspecting world with this noir throwback in 1984, and they haven't looked back. But all their subsequent success - and many of their trademark flourishes - can be dated back to this Texas-set tale of private eyes, murder most foul and more double (triple, and quadruple) crosses than you can count. The style is present and correct in the almost black-and-white locations and bright red blood, but it's the tone that stands out. Like Fargo without the warmth of Marge Gunderson, or Miller's Crossing without the qualms of conscience, Blood Simple is the darkest, and arguably up there with the best, of the Coens' films.
14. Stranger Than Paradise (1984, W. Ger/US), d. Jim Jarmusch
Jim Jarmusch is another in the small canon of American directors who have spent their entire career outside of the mainstream - hell, even when he's got Johnny Depp in his movie the box office seems relatively unperturbed. But it's this early work - just his second feature - that stands among the best. Possibly the biggest reason for Stranger Than Paradise's inclusion here is, despite all outward appearances, Jarmusch's craftily disguising that he knows exactly what he's on about. It wasn't for another film or two that his themes of the universality of humankind, regardless of race, creed or colour, became apparent. Consider also his legacy on the likes of Wayne Wang and Greg Araki.
13. Memento (2000), d. Christopher Nolan
Christopher Nolan's modestly budgeted sleeper hit managed to claw it's way over the indie fence and into mainstream recognition on pure ingenuity. Before Memento, the 'character with amnesia' subgenre was, generally, a rather tired one (and has become so again since), but using the simplest of devices - telling the story's episodic structure in reverse order - the filmmakers (Nolan's brother Jonathan wrote the basis of the screenplay) forged a tale that was arse-clenchingly compelling, and ironically, unforgettable. And let's not forget it was the first major breakthrough in screenwriting structure since Pulp Fiction and its many clones, which in itself deserves an award.
12. Eraserhead (1977), d. David Lynch
Another piecemeal movie - shot over five years on a virtually non-existent budget, prompting lead Jack Nance to keep that same distinctive pre-Marge Simpson haircut for the duration of the shoot - Eraserhead is one of the strangest, most perplexing movies you'll ever see. It's jam-packed with deeply unsettling imagery, a grating, scraping, percussive soundtrack and an almost omnipresent sense of dread and doom. Despite all that, it's one of Lynch's most complete, a true surrealist masterpiece for everybody, barring the guy who made it - in Lynch's world, this is probably the equivalent of Bad Boys 2.
11. Bad Taste (1987, NZ), d. Peter Jackson
Compared to the long hard slog that was making Bad Taste, the Rings trilogy was a walk in the park. Famously funded almost entirely by himself and shot on weekends over a period of FOUR YEARS, Jackson not only wrote, directed, and appeared in a couple of roles, but supervised the special effects, constructed makeshift 'steadicam' equipment and probably made the tea, too. The result is as ramshackle as you'd imagine, but is also an endlessly inventive, vibrant alien invasion movie with extraordinary levels of gore, black comedy and an early peek of the scampish, OTT sense of humour that is evident in even the most serious and worthy of PJ's canon. At times you can almost hear him giggle himself silly, behind the camera.
|10. Mean Streets (1973), d. Martin Scorsese|
Father Martin Scorsese. Stated simply like that, those three words just don't scan correctly, but if Martin Scorsese - the greatest living director never to win an Oscar - had gone with his first love, the priesthood, instead of his second, making movies, we'd never had GoodFellas, or Raging Bull, or Taxi Driver, or Kundun. OK, maybe forget the last one, and replace it with Mean Streets which, to this day, remains probably Scorsese's most personal and powerful work. A strange mixture of seedy violence, frank nudity and the sort of language you'd expect to hear from gangsters in New York's Little Italy, the film is nonetheless drenched in a veil of Catholic guilt (lead Harvey Keitel, as Charlie, a small-time hood who knows that he should get the hell out of the game, constantly chastises and tests himself) and seems to act as a permanent celluloid confessional for Scorsese's baser instincts. For this alone, this gritty little drama would be worth noting, but it's also shot through with hints of Scorsese's virtuosity (the wonderful pop-infused soundtrack, and the scene where a drunk Keitel teeters through a bar in one disorienting shot), and tantalising glimpses of his future preoccupations: gangsters, the mores of masculinity and a rich and varied partnership with one Mr. R. De Niro, so magnetic here as wildcard wiseguy, Johnny Boy. 9. Sideways (2004), d. Alexander Payne
Alexander Payne had already impressed audiences with a high-school satire (Election) and a witty tale of an old man's voyage into retirement (About Schmidt), but it was this one - gently and intelligently picking apart the foibles of middle-age life - that blew the critics away and confirmed his status as an arthouse auteur to be reckoned with. The deceptively simple tale of two mismatched friends who take a weekend in the wine country is simply one of the best character studies you're ever going to see. It's got it all: laughs (try to keep a straight face as Paul Giamatti flees the fat naked man), sadness (the Pinot Noir speech is heartbreaking) and a wonderfully uplifting, surprising ending. And consider this - if this had been a studio film, Paul Giamatti and Thomas Haden Church would have been bit-part players, instead of the leads (who might well have been George Clooney and Tom Hanks). For that fact alone, Sideways is worthy of its place in the top ten.
8. The Usual Suspects (1995), d. Bryan Singer
It's a film that gained fame and acclaim primarily on the strength of that ending, but The Usual Suspects is far more than just a crime yarn with a clever twist. Inspired only by the concept for its poster (five guys in a line-up), Christopher McQuarrie's mind-bending heist thriller is nothing less than an ensemble tour de force and, lest we forget, the starting pistol for both Bryan Singer and Kevin Spacey's careers in the big time. The basic plot - a collection of career criminals are rounded up for a heist, decide to join forces for a job but soon find themselves on the wrong side of a legendary underworld figure - hardly does justice to the bigger picture, which is gradually assembled from a series of flashbacks. Sleight of hand and misdirection are the tools used here, the film leading viewers by the nose, playing with our perceptions before quite violently pulling the rug from under us. Complemented by a cast on top form - Stephen Baldwin and Benicio Del Toro provide the laughs with Gabriel Byrne adding a pleasingly sinister turn - The Usual Suspects is a masterwork of modern filmmaking, as simple in inception as it is elegant in execution.
7. sex, lies, and videotape (1989), d. Steven Soderbergh
Steven Soderbergh wrote this in eight days, and filmed it in five weeks on a budget of $1.2 million. The words "jammy git" should leap to mind, but subsequent films have proved him to be consistent in the freakishly talented stakes. This, his debut feature, won him the Palm D'Or and an Oscar nomination, courtesy of the brilliant screenplay and some unexpectedly deep performances from all four lead actors - nearly-was teen idol Spader, first time lead MacDowell, and then unknowns Laura San Giacomo & Peter Gallagher. Soderbergh understood his subject (voyeurism and secrecy) perfectly. It's one of those films where ostensibly not much actually happens, but the director's use of first-person camera within the story rang the voyeuristic bell of a pre-Internet audience. It was the template for a pattern of shaking up financially economic cinematography to be employed by Soderbergh time and again (The Underneath, The Limey, Traffic, et al.) S, L & V generated enough of a buzz to revive the ailing Sundance Festival, and provide Miramax with their first big success (Pete Biskind's "Down And Dirty Pictures" makes for some terrific further reading on that particular subject). And two years prior to Tarantino's arrival, it awakened a new generation to the possibilities of low-budget filmmaking.
6. Night of the Living Dead (1968), d. George Romero
Night of the Living Dead is the ultimate yin/yang example of indie film-making. The movie itself is a brilliant, bleak, black-&-white true horror classic, the standard-bearer for a wave of realistic frightflicks that flooded the '70s and beyond, and of course the movie without which the recent zombie revival would never have happened. At that fledgling stage, George Romero's technical skills were less than refined, and the shoestring budget - borrowed from local Pittsburgh companies and friends of friends - more than shows itself, but the true horror of a zombie takeover and siege situation is adroitly realized. And with that final, truly gutwrenching shot, Romero begins to expound on a theme that haunts him to this day: the bad guys aren't them. It's us! OK, so the film is all well and good, but the financial morass that swamped Romero afterwards is a warning signal to all would-be film-makers - with so many fingers in financial pies, the venerated director has never had control of the rights, which explains why so many different versions of Night are swarming around on DVD, including that dreadful colourised version. But all's well that ends well, with Land of the Dead hitting cinemas any second now...
5. Monty Python's Life Of Brian (1979, UK), d. Terry Jones
Most of us know by now the origins of Python's second proper movie - at a press conference, Eric Idle laughingly suggested that their next project would be "Jesus Christ - Lust For Glory". What they eventually came up with was much better - an unrivalled satire on religion, and quite possibly the funniest movie ever made. Trouble was, no-one in the film business had the balls to make it. From it's opening sequence (the first joke is a pratfall) it's evident that it's going to be Python of the highest standard, but it's the cohesion of the story that makes this all work so well. In sending up not Christ, but all of the petty, political, opportunist zealots around him, they had finally found in their subject, an idea ripe for ridicule large enough to accommodate their rapid gag rate and broadness of style. Of course, Brian isn't the messiah (that'd be the boy up the street), but you try telling them - and the financiers - that. Enter Empire's favourite Beatle and cornerstone of the British film industry for the next decade, George Harrison (and his money), and the rest is history. The creation of Handmade Films. Uproar. Outrage. Censorship. Genius.
4. Clerks (1994), d. Kevin Smith
All told, the credit card bills and sundry expenses amounted to somewhere in the region of $25,000. That's a lot of coin to pay back, but if Kevin Smith was ever worried about recouping his borrowed, begged but absolutely not stolen outlay for his first movie, then he didn't really have time to show it. For Clerks was quickly picked up by Miramax chief Harvey Weinstein, who overlooked its dodgy production values, ropy acting and a story that resists the description 'threadbare' because he saw a raw vitality in its balls-out dialogue; a vitality and spirit and, more importantly, laugh out loud sense of humour that ensured that Clerks connected instantly with disenfranchised tweens and shop workers everywhere, and the rest is history for Smith, from Chasing Amy to the continuing adventures of Jay & Silent Bob, to domination of the geek world.
3. The Terminator (1984), d. James Cameron
Its studio-friendly sequels and slick '80s action sequences may make this appear part of the Hollywood establishment, but look a little more closely. Behind the impressive effects you'll see an untried director, an obscure leading man and a (relatively) shoestring budget - in fact, all the hallmarks of an indie movie. If you want an example of independent spirit, there's no finer example than the man behind The Terminator's apocalyptic vision. A nobody on the verge of being fired from his job on a silly horror flick about piranhas, James Cameron was fired up by a vivid nightmare he had one night about an unstoppable metal assassin. Hastily scribbling a screenplay and assembling a crew, he threw himself body and soul into the shoot, creating a whole new genre of techno-noir along the way. That The Terminator spawned one of the biggest sequels ever is testament to what a high concept and assured execution can do. Of course, it helps to have a healthy dose of iconic lines and, in Arnold Schwarzenegger, an unstoppable machine from the future - sorry, Austria - poised on the very brink of superstardom.
2. Donnie Darko (2001), d. Richard Kelly
Was Donnie schizophrenic? Is he, in fact, a supernaturally empowered avatar chosen by unknown forces? Did any of the film's events even happen? Such are the questions that sent people running to the pub to debate just what the hell Kelly had in mind when he wrote this story. That of a teenager who's warned about the end of the world by a six foot, talking rabbit after a jet engine falls on his house. Part supernatural chiller, part '80s teen drama and part philosophical musing on wormhole theory and the transience of human existence. Donnie Darko is not a film that lends itself to easy categorization and, unwilling to compromise his convoluted vision for studio palates, 27-year-old writer/director Richard Kelly almost had to launch his debut on cable television. Luckily, though, this exquisite slice of sci-fi surrealism was rescued from the precipice of DTV and went on to become a cult hit while simultaneously placing Jake Gyllenhaal on the road to stardom. A bizarre concoction it undoubtedly is but Donnie Darko raised the bar for independent thinking and reinvented the teen genre for the new Millennium. Utter genius.
1. Reservoir Dogs (1992), d. Quentin Tarantino
Some will bleat that this is an easy, obvious choice, while others will say... well, pretty much the same, but nominate differently. Our criteria for deciding the films were: firstly, the circumstances and spirit in which they were made, second, the quality of the result and, finally, its mark on the movie world. This is how Reservoir Dogs gained consensus as the winner. Consider firstly the film's creation: script written in two weeks while the author was in a dead-end day job, it barely changed from first draft to shooting script, and attracted attention by word of mouth. It garnered rave reviews, but Dogs' box office performance wasn't great - again, it had to wait for word of mouth. Most importantly, the magnitude of effect this one film has had on indie culture in the last 13 years is, to say the least, overwhelming. The fact is that more than one generation has had their eyes opened to the long-snubbed world of movie-making's outsiders, be it American mavericks, foreign actioners, or just plain old B-pictures. If it wasn't for Dogs, Hong Kong action cinema would still be a lot more marginal than it is today, and nobody would likely have got around to transferring blaxploitation titles onto DVD yet. You only have to look through the homages and ripoffs that have abounded - how many more films have suited gunmen, feature heists gone wrong, have people talking about pop culture, or 'boast' a fractured narrative? Love or hate it, Reservoir Dogs is the greatest independent movie ever made.
Monty Python's Life of Brian, Trailer
Sunday, August 31, 2014
Tuesday, August 26, 2014
What movie has the most entries on the American Film Institute's (AFI) list of 100 best movie quotes?
Casablanca with six: l) "Here's looking at you, Kid." 2) "Of all the gin joints, in all the towns, in all the world, she walks into mine." 3) "We'll always have Paris." 4) "You stop breathing, you die. You stop fighting, the world dies." 5) Louis, I think this is the beginning of a beautiful friendship." 6) "Play it once, Sam. For old times' sake."
Just repeating these quotes, immediately brings one right back to that place, that mood, as is in the case with hundreds of great films. Just a few of many favorite screenwriters are Joseph Mankowicz, Billy Wilder, William Goldman. For me, one of Joseph Mankiewicz's best films is All
About Eve; its famous quote, "Fasten your seatbelts, it's going to be a bumpy night!". From Billy Wilder's Some Like It Hot; "Well, nobody's perfect." And William Goldman's Marathon Man; Is It Safe?" But his best quote about Hollywood in general is, "Nobody knows anything."
So, why does a line become quotable?
(CNN) -- Screenwriter William Goldman has written some of the most famous lines in movie history.
You know the ones. "My name is Inigo Montoya. You killed my father. Prepare to die from The Princess Bride. "Is it safe?" from Marathon Man. "Follow the money" from All the President's Men. "Think ya used enough dynamite there, Butch?" from Butch Cassidy and the Sundance Kid.
He's won two Oscars, two Edgars, a Hugo and a career achievement award from the National Board of Review. He obviously knows how to write. And he still has no idea why some of his dialogue manages to become part of the national vernacular. There are so many factors that go into creating a movie, he says, that it's all a writer can do to get his script right.
"When you're doing a movie you have no idea who the powers on the movie are going to be, and is there going to be a star who wants this line or doesn't like that line. You're at the mercy of everybody and you do the best you can," he says. "But you never know."
(It's no wonder that another of Goldman's most famous lines is his summation of Hollywood: "Nobody knows anything.")
If you're a screenwriter, it's not exactly something you can plan. Maybe the actor gives a line a poor spin; maybe the director doesn't capture the moment; maybe the film editor changes the rhythm of the scene in the cutting room. It's been said that nobody plans to make a bad film, but with so many variables at play, even a good script isn't bulletproof.
Fred Shapiro, editor of "The Yale Book of Quotations" and several other books in the field, points out that movie quotations can be a shorthand -- something that brings up powerful associations.
"Some movie quotes become popular because they evoke a great film, or a great scene, or a great actor," he says. "Sometimes the words of the quote become proverbial -- something like 'The natives are restless' or 'If you build it they will come' or 'Win one for the Gipper!' They enter into the language."
He also notes that lines tend to get condensed or changed. For example, he was quick to point out that the correct quotation from "Field of Dreams" is "If you build it, he will come."
They're also social glue. Repeat a line from popular comedies such as "Airplane!" or "Monty Python and the Holy Grail," and you can immediately establish bonds with similarly minded individuals. This summer Marvel fans have been fond of repeating, "I am Groot."
The late Harold Ramis was a champ at composing such wisecracks, anti-establishment jokes that have been repeated by generations of viewers.
During the Oscars, Pepsi even promoted its "mini can" with a commercial that featured only well-known movie quotations. Why that strategy? "We want to take this to an emotional place," Seth Kaufman, PepsiCo's VP-marketing for colas, told Advertising Age
Shapiro makes a distinction between popular quotations and catchphrases. The latter is more of a trademark, he says -- Bugs Bunny's "What's up, doc?", for example, and incessantly repeated. They're often even said in the voice of the performer. It's hard to say "Make my day" without evoking Clint Eastwood's clenched-jaw delivery.
These days, thanks to repeated television showings, video streaming and the Internet, quotations attach themselves to our craniums more quickly than ever. Ironically, that means the person who wrote the immortal line is now more ignored than ever. Think about Goldman's classics: "Who do you think of, the actor or the writer?"
"Nobody cares about who the screenwriter is," Goldman says. "That's one of the things you have to deal with if you write a screenplay. Nobody has the least knowledge of what's going to work, and everybody wants Tom Cruise."
Part of the AFI 100 Years... series, AFI's 100 Years... 100 Movie Quotes is a list of the top 100 movie quotations in American cinema. The American Film Institute (AFI) revealed the list on June 21, 2005, in a three-hour television program on CBS.
How many do you recognize?
Part of the AFI 100 Years... series, AFI's 100 Years... 100 Movie Quotes is a list of the top 100 movie quotations in American cinema. The American Film Institute (AFI) revealed the list on June 21, 2005, in a three-hour television program on CBS.
How many do you recognize?
The listThe table below reproduces the quotes as the AFI published them. However, the following have since been identified as being misquoted by the AFI.
- #2: Marlon Brando says "I'm gonna make him an offer he can't refuse", not "...going to...".
- #4: Judy Garland says "Toto, I've a feeling we're not in Kansas anymore." (AFI misquotes the line as "I've got a feeling...")
- #40: Tom Hanks says "My momma always said, 'Life was like a box of chocolates. You never know what you're gonna get.'" (AFI omitted "my.")
- #66: Charlton Heston says "Take your stinking paws off me, you damned dirty ape", not "Get..."
- #78: Keir Dullea says "Open the pod bay doors, HAL." (AFI added "please.")
- #98: Patrick Swayze says "Nobody puts Baby in the corner", not "...a corner."
|1||Frankly, my dear, I don't give a damn.||Rhett Butler||Clark Gable||Gone with the Wind||1939|
|2||I'm going to make him an offer he can't refuse.||Vito Corleone||Marlon Brando||The Godfather||1972|
|3||You don't understand! I coulda had class. I coulda been a contender. I coulda been somebody, instead of a bum, which is what I am."||Terry Malloy||Marlon Brando||On the Waterfront||1954|
|4||Toto, I've got a feeling we're not in Kansas anymore.||Dorothy Gale||Judy Garland||The Wizard of Oz||1939|
|5||Here's looking at you, kid.||Rick Blaine||Humphrey Bogart||Casablanca||1942|
|6||Go ahead, make my day.||Harry Callahan||Clint Eastwood||Sudden Impact||1983|
|7||All right, Mr. DeMille, I'm ready for my close-up.||Norma Desmond||Gloria Swanson||Sunset Boulevard||1950|
|8||May the Force be with you.||Han Solo||Harrison Ford||Star Wars||1977|
|9||"Fasten your seatbelts. It's going to be a bumpy night.||Margo Channing||Bette Davis||All About Eve||1950|
|10||You talkin' to me?||Travis Bickle||Robert De Niro||Taxi Driver||1976|
|11||What we've got here is failure to communicate.||Captain||Strother Martin||Cool Hand Luke||1967|
|12||I love the smell of napalm in the morning.||Lt. Col. Bill Kilgore||Robert Duvall||Apocalypse Now||1979|
|13||Love means never having to say you're sorry.||Jennifer Cavilleri Barrett||Ali MacGraw||Love Story||1970|
|14||The stuff that dreams are made of.||Sam Spade||Humphrey Bogart||The Maltese Falcon||1941|
|15||E.T. phone home.||E.T.||Pat Welsh||E.T. the Extra-Terrestrial||1982|
|16||They call me Mister Tibbs!||Virgil Tibbs||Sidney Poitier||In the Heat of the Night||1967|
|17||Rosebud.||Charles Foster Kane||Orson Welles||Citizen Kane||1941|
|18||Made it, Ma! Top of the world!||Arthur "Cody" Jarrett||James Cagney||White Heat||1949|
|19||I'm as mad as hell, and I'm not going to take this anymore||Howard Beale||Peter Finch||Network||1976|
|20||Louis, I think this is the beginning of a beautiful friendship.||Rick Blaine||Humphrey Bogart||Casablanca||1942|
|21||A census taker once tried to test me. I ate his liver with some fava beans and a nice Chianti.||Hannibal Lecter||Anthony Hopkins||The Silence of the Lambs||1991|
|22||Bond. James Bond.||James Bond||Sean Connery||Dr. No||1962|
|23||There's no place like home.||Dorothy Gale||Judy Garland||The Wizard of Oz||1939|
|24||I am big! It's the pictures that got small.||Norma Desmond||Gloria Swanson||Sunset Boulevard||1950|
|25||Show me the money!||Rod Tidwell||Cuba Gooding, Jr.||Jerry Maguire||1996|
|26||Why don't you come up sometime and see me?||Lady Lou||Mae West||She Done Him Wrong||1933|
|27||I'm walking here! I'm walking here!||"Ratso" Rizzo||Dustin Hoffman||Midnight Cowboy||1969|
|28||Play it, Sam. Play 'As Time Goes By.'"||Ilsa Lund||Ingrid Bergman||Casablanca||1942|
|29||You can't handle the truth!||Col. Nathan R. Jessup||Jack Nicholson||A Few Good Men||1992|
|30||I want to be alone.||Grusinskaya||Greta Garbo||Grand Hotel||1932|
|31||After all, tomorrow is another day!||Scarlett O'Hara||Vivien Leigh||Gone with the Wind||1939|
|32||Round up the usual suspects.||Capt. Louis Renault||Claude Rains||Casablanca||1942|
|33||I'll have what she's having.||Customer||Estelle Reiner||When Harry Met Sally...||1989|
|34||You know how to whistle, don't you, Steve? You just put your lips together and blow.||Marie "Slim" Browning||Lauren Bacall||To Have and Have Not||1944|
|35||You're gonna need a bigger boat."||Martin Brody||Roy Scheider||Jaws||1975|
|36||Badges? We ain't got no badges! We don't need no badges! I don't have to show you any stinking badges!||"Gold Hat"||Alfonso Bedoya||The Treasure of the Sierra Madre||1948|
|37||I'll be back.||The Terminator||Arnold Schwarzenegger||The Terminator||1984|
|38||Today, I consider myself the luckiest man on the face of the Earth.||Lou Gehrig||Gary Cooper||The Pride of the Yankees||1942|
|39||If you build it, he will come.||Shoeless Joe Jackson||Ray Liotta (voice)||Field of Dreams||1989|
|40||Mama always said life was like a box of chocolates. You never know what you're gonna get.||Forrest Gump||Tom Hanks||Forrest Gump||1994|
|41||We rob banks.||Clyde Barrow||Warren Beatty||Bonnie and Clyde||1967|
|42||Plastics.||Mr. Maguire||Walter Brooke||The Graduate||1967|
|43||We'll always have Paris.||Rick Blaine||Humphrey Bogart||Casablanca||1942|
|44||I see dead people.||Cole Sear||Haley Joel Osment||The Sixth Sense||1999|
|45||Stella! Hey, Stella!||Stanley Kowalski||Marlon Brando||A Streetcar Named Desire||1951|
|46||Oh, Jerry, don't let's ask for the moon. We have the stars.||Charlotte Vale||Bette Davis||Now, Voyager||1942|
|47||Shane. Shane. Come back!||Joey Starrett||Brandon De Wilde||Shane||1953|
|48||Well, nobody's perfect.||Osgood Fielding III||Joe E. Brown||Some Like It Hot||1959|
|49||It's alive! It's alive!||Henry Frankenstein||Colin Clive||Frankenstein||1931|
|50||Houston, we have a problem."||Jim Lovell||Tom Hanks||Apollo 13||1995|
|51||You've got to ask yourself one question: 'Do I feel lucky?' Well, do ya, punk?||Harry Callahan||Clint Eastwood||Dirty Harry||1971|
|52||You had me at "hello."||Dorothy Boyd||Renée Zellweger||Jerry Maguire||1996|
|53||One morning I shot an elephant in my pajamas. How he got in my pajamas, I don't know.||Capt. Geoffrey T. Spaulding||Groucho Marx||Animal Crackers||1930|
|54||There's no crying in baseball!||Jimmy Dugan||Tom Hanks||A League of Their Own||1992|
|55||La-dee-da, la-dee-da.||Annie Hall||Diane Keaton||Annie Hall||1977|
|56||A boy's best friend is his mother.||Norman Bates||Anthony Perkins||Psycho||1960|
|57||Greed, for lack of a better word, is good.||Gordon Gekko||Michael Douglas||Wall Street||1987|
|58||Keep your friends close, but your enemies closer.||Michael Corleone||Al Pacino||The Godfather Part II||1974|
|59||As God is my witness, I'll never be hungry again.||Scarlett O'Hara||Vivien Leigh||Gone with the Wind||1939|
|60||Well, here's another nice mess you've gotten me into!||Oliver||Oliver Hardy||Sons of the Desert||1933|
|61||Say 'hello' to my little friend!"||Tony Montana||Al Pacino||Scarface||1983|
|62||What a dump.||Rosa Moline||Bette Davis||Beyond the Forest||1949|
|63||Mrs. Robinson, you're trying to seduce me. Aren't you?||Benjamin Braddock||Dustin Hoffman||The Graduate||1967|
|64||Gentlemen, you can't fight in here! This is the War Room!||President Merkin Muffley||Peter Sellers||Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb||1964|
|65||Elementary, my dear Watson.||Sherlock Holmes||Basil Rathbone||The Adventures of Sherlock Holmes||1939|
|66||Get your stinking paws off me, you damned dirty ape.||George Taylor||Charlton Heston||Planet of the Apes||1968|
|67||Of all the gin joints in all the towns in all the world, she walks into mine.||Rick Blaine||Humphrey Bogart||Casablanca||1942|
|68||Here's Johnny!||Jack Torrance||Jack Nicholson||The Shining||1980|
|69||They're here!||Carol Anne Freeling||Heather O'Rourke||Poltergeist||1982|
|70||Is it safe?||Dr. Christian Szell||Laurence Olivier||Marathon Man||1976|
|71||Wait a minute, wait a minute. You ain't heard nothin' yet!"||Jakie Rabinowitz/Jack Robin||Al Jolson||The Jazz Singer||1927|
|72||No wire hangers, ever!||Joan Crawford||Faye Dunaway||Mommie Dearest||1981|
|73||Mother of mercy, is this the end of Rico?||Cesare Enrico "Rico" Bandello||Edward G. Robinson||Little Caesar||1930|
|74||Forget it, Jake, it's Chinatown."||Lawrence Walsh||Joe Mantell||Chinatown||1974|
|75||I have always depended on the kindness of strangers.||Blanche DuBois||Vivien Leigh||A Streetcar Named Desire||1951|
|76||Hasta la vista, baby.||The Terminator||Arnold Schwarzenegger||Terminator 2: Judgment Day||1991|
|77||Soylent Green is people!||Det. Robert Thorn||Charlton Heston||Soylent Green||1973|
|78||Open the pod bay doors please, HAL."||Dave Bowman||Keir Dullea||2001: A Space Odyssey||1968|
|79||Striker: "Surely you can't be serious." Rumack: "I am serious...and don't call me Shirley."||Ted Striker and Dr. Rumack||Robert Hays and Leslie Nielsen||Airplane!||1980|
|80||Yo, Adrian!||Rocky Balboa||Sylvester Stallone||Rocky||1976|
|81||Hello, gorgeous.||Fanny Brice||Barbra Streisand||Funny Girl||1968|
|82||Toga! Toga!||John "Bluto" Blutarsky||John Belushi||National Lampoon's Animal House||1978|
|83||Listen to them. Children of the night. What music they make.||Count Dracula||Bela Lugosi||Dracula||1931|
|84||Oh, no, it wasn't the airplanes. It was Beauty killed the Beast.||Carl Denham||Robert Armstrong||King Kong||1933|
|85||My precious.||Gollum||Andy Serkis||The Lord of the Rings: The Two Towers||2002|
|86||Attica! Attica!||Sonny Wortzik||Al Pacino||Dog Day Afternoon||1975|
|87||Sawyer, you're going out a youngster, but you've got to come back a star!||Julian Marsh||Warner Baxter||42nd Street||1933|
|88||Listen to me, mister. You're my knight in shining armor. Don't you forget it. You're going to get back on that horse, and I'm going to be right behind you, holding on tight, and away we're gonna go, go, go!||Ethel Thayer||Katharine Hepburn||On Golden Pond||1981|
|89||Tell 'em to go out there with all they got and win just one for the Gipper."||Knute Rockne||Pat O'Brien||Knute Rockne, All American||1940|
|90||A martini. Shaken, not stirred.||James Bond||Sean Connery[||Goldfinger[||1964|
|91||Who's on first?||Dexter||Bud Abbott||The Naughty Nineties||1945|
|92||Cinderella story. Outta nowhere. A former greenskeeper, now, about to become the Masters champion. It looks like a mirac...It's in the hole! It's in the hole! It's in the hole!||Carl Spackler||Bill Murray||Caddyshack||1980|
|93||Life is a banquet, and most poor suckers are starving to death!||Mame Dennis||Rosalind Russell||Auntie Mame||1958|
|94||I feel the need—the need for speed!||Lt. Pete "Maverick" Mitchell and Lt. Nick "Goose" Bradshaw||Tom Cruise Anthony Edwards||Top Gun||1986|
|95||Carpe diem. Seize the day, boys. Make your lives extraordinary.||John Keating||Robin Williams||Dead Poets Society||1989|
|96||Snap out of it!||Loretta Castorini||Cher||Moonstruck||1987|
|97||My mother thanks you. My father thanks you. My sister thanks you. And I thank you.||George M. Cohan||James Cagney||Yankee Doodle Dandy||1942|
|98||Nobody puts Baby in a corner.||Johnny Castle||Patrick Swayze||Dirty Dancing||1987|
|99||I'll get you, my pretty, and your little dog too!||Wicked Witch of the West||Margaret Hamilton||The Wizard of Oz||1939|
|100||I'm the king of the world!||Jack Dawson||Leonardo DiCaprio||Titanic||1997|
As Time Goes By, or Play it Sam, Casablanca