American romantic comedy-drama films

2508 quotes found

"For the last couple of months, Senator Rumson has suggested that being President of this country was, to a certain extent, about character. And although I've not been willing to engage in his attacks on me, I have been here three years and three days, and I can tell you without hesitation - being President of this country is entirely about character. For the record, yes, I am a card-carrying member of the ACLU, but the more important question is, why aren't you, Bob? Now this is an organization whose sole purpose is to defend the Bill of Rights, so it naturally begs the question, why would a Senator, his party's most powerful spokesman and a candidate for President, choose to reject upholding the Constitution? Now if you can answer that question, folks, then you're smarter than I am, because I didn't understand it until a few hours ago. America isn't easy. America is advanced citizenship. You've gotta want it bad, 'cause it's gonna put up a fight. It's gonna say, "You want free speech? Let's see you acknowledge a man whose words make your blood boil, who's standing center stage and advocating at the top of his lungs that which you would spend a lifetime opposing at the top of yours." You want to claim this land as the land of the free? Then the symbol of your country cannot just be a flag. The symbol also has to be one of its citizens exercising his right to burn that flag in protest. Now show me that, defend that, celebrate that in your classrooms. Then, you can stand up and sing about the land of the free. I've known Bob Rumson for years, and I've been operating under the assumption that the reason Bob devotes so much time and energy to shouting at the rain was that he simply didn't get it. Well, I was wrong. Bob's problem isn't that he doesn't get it. Bob's problem is that he can't sell it! We have serious problems to solve, and we need serious people to solve them. And whatever your particular problem is, I promise you, Bob Rumson is not the least bit interested in solving it. He is interested in two things, and two things only: making you afraid of it, and telling you who's to blame for it. That, ladies and gentlemen, is how you win elections. You gather a group of middle age, middle class, middle income voters who remember with longing an easier time, and you talk to them about family, and American values and character, and you wave an old photo of the President's girlfriend and you scream about patriotism. You tell them she's to blame for their lot in life. And you go on television and you call her a whore. Sydney Ellen Wade has done nothing to you, Bob. She has done nothing but put herself through school, represent the interests of public school teachers, and lobby for the safety of our natural resources. You want a character debate, Bob? You better stick with me, 'cause Sydney Ellen Wade is way out of your league. I've loved two women in my life. I lost one to cancer. And I lost the other 'cause I was so busy keeping my job, I forgot to do my job. Well, that ends right now. Tomorrow morning, the White House is sending a bill to Congress for its consideration. It's White House Resolution 455, an energy bill requiring a twenty percent reduction of the emission of fossil fuels over the next ten years. It is by far the most aggressive stride ever taken in the fight to reverse the effects of global warming. The other piece of legislation is the Crime Bill. As of today, it no longer exists. I'm throwing it out. I'm throwing it out and writing a law that makes sense. You cannot address crime prevention without getting rid of assault weapons and handguns. I consider them a threat to national security, and I will go door-to-door if I have to, but I'm gonna convince Americans that I'm right, and I'm gonna get the guns. We've got serious problems, and we need serious people. And if you want to talk about character, Bob, you'd better come at me with more than a burning flag and a membership card. If you want to talk about character and American values, fine. Just tell me where and when, and I'll show up. This is a time for serious people, Bob, and your fifteen minutes are up. My name is Andrew Shepherd, and I AM THE PRESIDENT!"

- The American President

0 likesAmerican romantic comedy-drama filmsFilms directed by Rob ReinerPolitical drama filmsScreenplays by Aaron SorkinFilms set in Washington, D.C.
"There's an old joke: two elderly women are at a Catskill mountain resort and one of 'em says, "Boy, the food at this place is really terrible." The other one says, "Yeah, I know, and such small portions." Well, that's essentially how I feel about life. Full of loneliness and misery and suffering and unhappiness, and it's all over much too quickly. The the other joke important joke for me is one that's usually attributed to Groucho Marx, but I think it appears originally in Freud's Wit and Its Relation to the Unconscious. And it goes like this, I'm paraphrasing: Um, I would never wanna belong to any club that would have someone like me for a member. That's the key joke of my adult life in terms of my relationships with women. You know, lately, the strangest things have been going through my mind, 'cause I turned 40, and I guess I'm going through a life crisis or something, I dunno, and I'm not worried about aging, I'm not one of those characters, you know I, well I'm balding slightly on top, that's about the worst you can say about me. I um I think I'm gonna get better as I get older. You know, I think I'm gonna be the balding virile type, you know, as opposed to say, the um distinguished gray, for instance, you know, unless I'm neither of those two. Unless I'm one of those guys with saliva dribbling out of his mouth who wanders into a cafeteria with a shopping bag screaming about socialism. Annie and I broke up, and I still can't get my mind around that, you know, I keep sifting the pieces of the relationship through my mind and and examining my life and trying to figure out where did the screw up come, you know, and mm a year ago, we were in love, you know, and and and I just, and it's funny, I'm not a I'm not a morose type. I'm not a depressive character, you know, I was a reasonably happy kid, I guess, I was brought up in Brooklyn during World War II."

- Annie Hall

0 likesAmerican romantic comedy-drama filmsCult filmsBest Picture Academy Award winnersFilms set in BrooklynFilms set in Manhattan
"[voiceover] "Chapter One. He adored New York City. He idol­ized it all out of proportion." Uh, no, make that: "He-he . . . romanticized it all out of proportion." Yeah. To him, no matter what the season was, this was still a town that existed in black-and-white and pulsated to the great tunes of George Gershwin." Uh, no let me start this over. "Chapter One. He was too romantic about Manhattan as he was about everything else. He thrived on the hustle bustle of the crowds and the traffic. To him, New York meant beautiful women and street-smart guys who seemed to know all the angles." Nah, corny, too corny for a man of my taste [He clears his throat.] Let me - let me try and make it more profound. "Chapter One. He adored New York City. To him, it was a metaphor for the decay of contemporary culture. The same lack of individual integrity that cause so many people to take the easy way out was rapidly turning the town of his dreams in-" No, it's gonna be too preachy. I mean, you know, let's face it, I wanna sell some books here. "Chapter One. He adored New York City, although to him, it was a metaphor for the decay of contemporary culture. How hard it was to exist in a society desensitized by drugs, loud music, televi­sion, crime, garbage." Too angry. I don't wanna be angry. "Chapter One. He was as tough and romantic as the city he loved. Behind his black-rimmed glasses was the coiled sexual power of a jungle cat." I love this. "New York was his town, and it always would be.""

- Manhattan (film)

0 likes1970s American filmsAmerican romantic comedy-drama filmsJuvenile sexuality in filmsFilms about adulteryFilms directed by Woody Allen
"(Offscreen) An idea for a short story about um people in Manhattan who uh are constantly creating these real, uh, unnecessary, neurotic problems for themselves 'cause it keeps them from dealing with more unsolvable, terrifying problems about, uh, the universe. (The camera pulls back, revealing Ike, sprawled out on his couch, holding the recorder's microphone to his mouth. He continues to talk, fiddling with the microphone's wire as he thinks out loud.) (Into the microphone, sighing) Um, tsch-it's, uh . . . well, it has to be optimistic. Well, alright, why is life worth living? That's a very good question. (Sighing) Um. (Clearing his throat, then sighing again) Well, there are certain things I-I guess that make it worthwhile. (Sighing) Uh, like what? (Sighing again and scratching his neck) Okay. Um, for me . . . (Sighing) uh, ooh, I would say . . . what, Groucho Marx, to name one thing . . . uh, ummmm, and (Sighing) Willie Mays and um, the second movement of the Jupiter Symphony, and ummmm... (Exhaling) Louie Armstrong's recording of "Potato Head Blues" . . . (Sighing) umm, Swedish movies, naturally . . . Sentimental Education by Flaubert . . . uh, Marlon Brando, Frank Sinatra . . . (Sighing) ummm, those incredible apples and pears by Cézanne . . . (Sighing) uh, the crabs at Sam Wo's . . . uh, Tracy's face."

- Manhattan (film)

0 likes1970s American filmsAmerican romantic comedy-drama filmsJuvenile sexuality in filmsFilms about adulteryFilms directed by Woody Allen
"I love you…I love you. And not, not in a friendly way, although I think we're great friends. And not in a misplaced affection, puppy-dog way, although I'm sure that's what you'll call it. I love you. Very, very simple, very truly. You are the-the epitome of everything I have ever looked for in another human being. And I know that you think of me as just a friend, and crossing that line is-is-is the furthest thing from an option you would ever consider. But—I had to say it. I just, I can't take this anymore. I can't stand next to you without wanting to hold you. I can't—I can't look into your eyes without feeling that—that longing you only read about in trashy romance novels. I can't talk to you without wanting to express my love for everything you are.And I know, this will probably queer our friendship—no pun intended—but I had to say it, 'cause I've never felt this way before, and I-I don't care. I like who I am because of it. And if bringing this to light means we can't hang out anymore, then that hurts me. But, God, I just—I couldn't allow another day to go by without just getting it out there, regardless of the outcome, which by the look on your face is to be the inevitable shoot-down. And, you know, I'll accept that. But I know, I know that some part of you is hesitating for a moment, and if there's a moment of hesitation, then that means you feel something, too. And all I ask, please, is that you just—you just not dismiss that, and try to dwell in it for just ten seconds. Alyssa, there isn't another soul on this fucking planet who has ever made me half the person I am when I'm with you, and I would risk this friendship for the chance to take it to the next plateau. Because it is there between you and me. You can't deny that. Even if, you know, even if we never talk again after tonight, please know that I am forever changed because of who you are and what you've meant to me, which—while I do appreciate it—I'd never need a painting of birds bought at a diner to remind me of."

- Chasing Amy

0 likesAmerican romantic comedy-drama filmsLGBT-related filmsFilms set in New JerseyFilms directed by Kevin Smith
"Who had I become? Just another shark in a suit? Two days later at our corporate conference in Miami, a breakthrough. Breakdown? Breakthrough. I couldn't escape one simple thought: I hated myself. No, no, no, here's what it was: I hated my place in the world. I had so much to say and no one to listen. And then it happened. It was the oddest, most unexpected thing. I began writing what they call a mission statement. Not a memo, a mission statement. You know, a suggestion for the future of our company. A night like this doesn't come along very often. I seized it. What started out as one page became twenty-five. Suddenly, I was my father's son again. I was remembering the simple pleasures of this job, how I ended up here out of law school, the way a stadium sounds when one of my players performs well on the field. The way we are meant to protect them in health and in injury. With so many clients, we had forgotten what was important.I wrote and wrote and wrote and wrote and I'm not even a writer. I was remembering even the words of the original sports agent, my mentor, the late great Dickie Fox who said: 'The key to this business is personal relationships.' Suddenly, it was all pretty clear. The answer was fewer clients. Less money. More attention. Caring for them, caring for ourselves and the games, too. Just starting our lives, really. Hey - I'll be the first to admit, what I was writing was somewhat touchy-feely. I didn't care. I have lost the ability to bullshit. It was the me I'd always wanted to be. I took it in a bag to a Copymat in the middle of the night and printed up a hundred and ten copies. Even the cover looked like The Catcher in the Rye. I entitled it 'The Things We Think and Do Not Say: The Future of Our Business.'...Everybody got a copy...I was 35. I had started my life."

- Jerry Maguire

0 likesComedy-drama filmsAmerican romantic comedy-drama filmsScreenplays by Cameron CroweFilms directed by Cameron CroweBusiness films
"Miranda July's Me and You and Everyone We Know is a film that with quiet confidence creates a fragile magic. It's a comedy about falling in love when, for you, love requires someone who speaks your rare emotional language. Yours is a language of whimsy and daring, of playful mind games and bold challenges. Hardly anybody speaks that language, the movie suggests — only me, and you, and everyone we know, because otherwise we wouldn't bother knowing them. As a description of a movie, I suppose that sounds maddening. An example: A young woman walks into a department store, and in the shoe department, she sees a young man who fascinates her. His hand is bandaged. She approaches him and essentially offers the gift of herself. He is not interested; he's going through a divorce and is afraid of losing his children. She asks him how he hurt his hand. "I was trying to save my life," he says. … Now imagine these two characters, named Christine (Miranda July) and Richard (John Hawkes) as they walk down the street. She suggests that the block they are walking down is their lives. And so now they are halfway down the street and halfway through their lives, and before long they will be at the end. It is impossible to suggest how poetic this scene is; when it's over, you think, that was a perfect scene, and no other scene can ever be like it. … Miranda July is a performance artist; this is her first feature film (it won the Special Jury Prize at Sundance, and at Cannes won the Camera d'Or as best first film, and the Critics' Week grand prize). Performance art sometimes deals with the peculiarities of how we express ourselves, with how odd and wonderful it is to be alive. So does this film. As Richard slowly emerges from sadness and understands that Christine values him, and he must value her, for reasons only the two of them will ever understand, the movie holds its breath, waiting to see if their delicate connection will hold. Me and You and Everyone We Know is a balancing act, as July ventures into areas that are risky and transgressive, but uses a freshness that disarms them, a directness that accepts human nature and likes to watch it at work."

- Me and You and Everyone We Know

0 likesAmerican independent filmsAmerican romantic comedy-drama filmsSundance Film Festival award–winning films
"[to his father] You've said what you had to say. You listen to me. You say you don't want to tell me how to live my life? So what do you think you've been doing? You tell me what rights I've got or haven't got, and what I owe to you for what you've done for me. Let me tell you something. I owe you nothing! If you carried that bag a million miles, you did what you were supposed to do because you brought me into this world, and from that day you owed me everything you could ever do for me, like I will owe my son if I ever have another. But you don't own me! You can't tell me when or where I'm out of line, or try to get me to live my life according to your rules. You don't even know what I am, Dad. You don't know who I am. You don't know how I feel, what I think. And if I tried to explain it the rest of your life, you will never understand. You are 30 years older than I am. You and your whole lousy generation believes the way it was for you is the way it's got to be. And not until your whole generation has lain down and died will the deadweight of you be off our backs! You understand? You've got to get off my back! Dad. Dad. You're my father. I'm your son. I love you. I always have and I always will. But you think of yourself as a colored man. I think of myself as a man. Hmm? Now, I've got a decision to make, hmm? And I've got to make it alone. And I gotta make it in a hurry. So, would you go out there and see after my mother?"

- Guess Who's Coming to Dinner

0 likesFilms about racismUnited States National Film Registry filmsFilms directed by Stanley KramerFilms about interracial romanceAmerican romantic comedy-drama films
"Now, Mr. Prentice, clearly a most reasonable man, says he has no wish to offend me, but wants to know if I'm some kind of a nut. And Mrs. Prentice says that like her husband, I'm a burnt-out old shell of a man who cannot even remember what it's like to love a woman the way her son loves my daughter. And strange as it seems, that's the first statement made to me all day with which I am prepared to take issue. Because I think you're wrong. You're as wrong as you can be.I admit that I hadn't considered it, hadn't even thought about it, but I know exactly how he feels about her. And there is nothing, absolutely nothing, that your son feels for my daughter that I didn't feel for Christina. Old? Yes. Burnt out? Certainly. But I can tell you the memories are still there – clear, intact, indestructible. And they'll be there if I live to be 110. Where John made his mistake, I think, was attaching so much importance to what her mother and I might think. Because in the final analysis, it doesn't matter a damn what we think. The only thing that matters is what they feel, and how much they feel for each other. And if it's half of what we felt, that's everything.As for you two and the problems you're going to have, they seem almost unimaginable. But you'll have no problem with me. And I think that uh, when Christina and I and your mother have some time to work on him, you'll have no problem with your father, John. But you do know – I'm sure you know – what you're up against. There'll be a hundred million people right here in this country who'll be shocked and offended and appalled at the two of you. And the two of you will just have to ride that out. Maybe every day for the rest of your lives. You can try to ignore those people or you can feel sorry for them and for their prejudices and their bigotry and their blind hatreds and stupid fears. But where necessary, you'll just have to cling tight to each other and say screw all those people! Anybody could make a case, and a hell of a good case, against your getting married. The arguments are so obvious that nobody has to make them. But you're two wonderful people who happened to fall in love and happen to have a pigmentation problem. And I think that now, no matter what kind of a case some bastard could make against your getting married, there would be only one thing worse. [Matthew's voice softening] And that would be if – knowing what you two are, knowing what you two have, and knowing what you two feel – you didn't get married."

- Guess Who's Coming to Dinner

0 likesFilms about racismUnited States National Film Registry filmsFilms directed by Stanley KramerFilms about interracial romanceAmerican romantic comedy-drama films
"Vicky and Cristina decided to spend the summer in Barcelona. Vicky was completing her master's in Catalan Identity, which she had become interested in through her great affection for the architecture of Gaudí. Cristina, who spent the last six months writing, directing, and acting in a 12-minute film which she then hated, had just broken up with yet another boyfriend and longed for a change of scenery. Everything fell into place when a distant relative of Vicky's family who lived in Barcelona offered to put both girls up for July and August. The two best friends had been close since college and shared the same tastes and opinions on most matters, yet when it came to the subject of love, it would be hard to find two more dissimilar viewpoints. Vicky had no tolerance for pain and no lust for combat. She was grounded and realistic. Her requirements in a man were seriousness and stability. She had become engaged to Doug because he was decent and successful and understood the beauty of commitment...Cristina, on the other hand, expected something very different out of love. She had reluctantly accepted suffering as an inevitable component of deep passion, and was resigned to putting her feelings at risk. If you asked her what it was she was gambling her emotions on to win, she would not have been able to say. She knew what she didn't want, however, and that was exactly what Vicky valued above all else."

- Vicky Cristina Barcelona

0 likesSpanish filmsAmerican romantic comedy-drama filmsLGBT-related filmsFilms set in BarcelonaFilms about vacationing
"Well this is, and Rhoda, no disrespect, but um, this is total shit. "Go for it?" "You can do it?" That's not inspirational, that's suicidal! If Pickles goes for it right there that's a dead cat. Lies, we're liars think about it, why do people buy these things? It's not because they wanna say how they feel. People buy cards 'cause they can't say how they feel or they're afraid to. We provide the service that lets them off the hook. You know what? I say to hell with it. Let's level with America. At least let them speak for themselves, right? I mean look, look. What is this, what does this say? "Congratulations on your new baby." How 'bout "Congratulations on your new baby, guess that's it for hanging out, nice knowing ya." How 'bout this one? With all the pretty hearts on the front, I think I know where this one's going. Yup. "Happy Valentine's Day sweetheart, I love you." Isn't that sweet? Ain't love grand? This is exactly what I'm talking about. What does that even mean, love? Do you know? Do you? Anybody? If somebody gave me this card Mr. Vance, I'd eat it. It's these cards, and the movies and the pop songs, they're to blame for all the lies and the heartache, everything. We're responsible. I'M responsible. I think we do a bad thing here. People should be able to say how they feel, how they really feel, not ya know, some words that some stranger put in their mouth. Words like love, that don't mean anything. Sorry, I'm sorry, I um, I quit. There's enough bullshit in the world without my help."

- 500 Days of Summer

0 likesAmerican independent filmsFilms directed by Marc WebbNonlinear narrative filmsAmerican romantic comedy-drama films
"And so the question here is equality before the law, regardless of religion, color, wealth, or, as in this instance, sex...Law, like man, is composed of two parts: Just as man is body and soul, so is the law, letter and spirit. The law says, 'Thou shalt not kill,' yet men have killed, and proved a reason, and been set free. Self-defense, defense of others, of wife, of children, and home. If a thief breaks into your house, and you shoot him, the law will not deal harshly with you, nor indeed should it. So here, you are asked to judge not whether or not these acts were committed, but to what extent they were justified. Now, ladies and gentlemen of the jury, I request that you join me in a revealing experiment. I ask you all to direct your attention to the defendant, Mrs. Attinger. Now keep looking at her, keep watching. Listen carefully and look at her. Look at her hard. Now imagine her a man. Go on now, use your imaginations. Think of her as a man sitting there accused of a like crime -- a husband, who is only trying to protect his home. Now hold it. Hold that impression and look at Beryl Caighn. Look at her. Look at her hard, a man, a slick home wrecker, a third party, a wolf! You know the type. Alright, hold that impression and look at Mr. Attinger, and suppose him a woman. Try, try hard. Ah, yes, there she is. The guilty wife! Look at her! Does she arouse your sympathy?! Alright! Now you have it! Judge it so! An unwritten law stands back of a man who fights to defend his home. Apply this same law to this maltreated wife, and neglected woman. We ask you no more: equality. Deep in the heart of South America, there thrives today a civilization far older than ours: a people known as the Loquiňanos, descended from the Amazons. In this vast tribe, members of the female sex rule and govern, and systematically deny equal rights to the men, made weak and puny by years of subservience, too weak to revolt. And yet, how long have we lived in the shadow of a like injustice?Consider this unfortunate woman's act as though you yourselves had each committed it. Every living being is capable of attack, if sufficiently provoked. Assault lies dormant within us all. It requires only circumstance to set it in violent motion. I ask you for a verdict of not guilty. There was no murder attempt here, only a pathetic attempt to save a home."

- Adam's Rib

0 likesAmerican romantic comedy-drama filmsFilms directed by George CukorUnited States National Film Registry films