317 quotes found
"Let me bring you up to speed. My name is Wayne Campbell. I live in Aurora, Illinois, which is a suburb of Chicago — excellent. I've had plenty of joe-jobs; nothing I'd call a career. Let me put it this way: I have an extensive collection of nametags and hairnets. OK, so I still live with my parents, which I admit is both bogus and sad. But at least I have an amazing cable access show! And I still know how to party! But what I'd really love is to do "Wayne's World" for a living. It might happen! Sh'yeah! And monkeys might fly outta' my butt! Ah, the MirthMobile..."
"Mike Myers - Wayne Campbell"
"Dana Carvey - Garth Algar"
"Tia Carrere - Cassandra Wong"
"Rob Lowe - Benjamin Kane"
"Lara Flynn Boyle - Stacy"
"Michael DeLuise - Alan"
"Lee Tergeson - Terry"
"Dan Bell - Neil"
"Sean Gregory Sullivan - Phil, Wayne and Garth's perpetually wasted friend"
"Brian Doyle-Murray - Noah Vanderhoff"
"Colleen Camp - Mimi Vanderhoff"
"Kurt Fuller - Russell Finley"
"Chris Farley - the well-informed security guard"
"Meat Loaf - Tiny"
"Frank DiLeo - rock promoter Frankie "Mr. Big" Sharp"
"Ed O'Neill - Glen"
"Mike Hagerty - Davy"
"Frederick Coffin - Officer Koharski"
"Donna Dixon - Garth's dream woman"
"Ione Skye - Elyse"
"Robin Ruzman - a waitress"
"Charles Noland - Ron Paxton"
"Carmen Filpi - Old Man Withers"
"Chaz Healy - Concert-goer"
"Robert Patrick - T-1000"
"Alice Cooper with Pete Friesen, Derek Sherinian, Stef Burns, and Jimmy DeGrasso as themselves"
"It's brilliant, being depressed; you can behave as badly as you like."
"We have one of those conversations where everything clicks, meshes, corresponds, locks, where even our pauses, even our punctuation marks, seem to be nodding in agreement."
"I agreed that what really matters is what you like, not what you are like... Books, records, films—these things matter. Call me shallow but it's the fuckin' truth, and by this measure I was having one of the best dates of my life."
"What came first, the music or the misery? People worry about kids playing with guns, or watching violent videos, that some sort of culture of violence will take them over. Nobody worries about kids listening to thousands, literally thousands of songs about heartbreak, rejection, pain, misery and loss. Did I listen to pop music because I was miserable? Or was I miserable because I listened to pop music?"
"Should I bolt every time I get that feeling in my gut when I meet someone new? Well, I've been listening to my gut since I was 14 years old, and frankly speaking, I've come to the conclusion that my guts have shit for brains."
"I can see now I never really committed to Laura. I always had one foot out the door, and that prevented me from doing a lot of things, like thinking about my future and... I guess it made more sense to commit to nothing, keep my options open. And that's suicide. By tiny, tiny increments."
"I could've wound up having sex back there. And what better way to exorcise rejection demons than to screw the person who rejected you, right? But you wouldn't be sleeping with a person, you'd be sleeping with the whole sad, single-person culture. It'd be like sleeping with Talia Shire in Rocky if you weren't Rocky."
"It made sense to pool our collective loathing for the opposite sex, and while we were doing that, share a bed with someone at the same time. Only people of a certain disposition are sure they're going to be alone for the rest of their lives at age 26, and we were of that disposition."
"Then I lost it. Kinda lost it all, you know. Faith, dignity, about fifteen pounds."
"I can't fire them. I hired these guys for three days a week and they just started showing up, every day. That was four years ago."
"Jesus. I'm glad I know nothing about psychotherapy, about Jung and Freud and that lot. If I did, I'd probably be extremely frightened by now: the woman who wants to have sex in the place where she used to go for walks with her dead dad is probably very dangerous indeed."
"Read any women's magazine and you'll find the same complaint over and over again: men are not interested in foreplay and they are hopeless in bed. They are selfish, greedy, clumsy, and unsophisticated. These complaints I can't help feeling are kind of ironic 'cause back then, all we wanted was foreplay and girls weren't interested. We were told not to even think about it. Foreplay changes from being something that boys want to do and girls don't, to something that women want and men can't be bothered with. The perfect couple, if you ask me, is the Cosmo woman and the fourteen-year old b-b-b-boy."
"People worry about kids playing with guns, and teenagers watching violent videos; we are scared that some sort of culture of violence will take them over. Nobody worries about kids listening to thousands—literally thousands—of songs about broken hearts and rejection and pain and misery and loss. The unhappiest people I know, romantically speaking, are the ones who like pop music the most; and I don't know whether pop music has caused this unhappiness, but I do know that they've been listening to the sad songs longer than they've been living the unhappy lives."
"It would be nice to think that since I was 14 times have changed, relationships have become more sophisticated, females less cruel, skins thicker, instincts more developed, but there seems to be an element of that afternoon in everything that's happened to me since. All my romantic stories are a scrambled version of that first one."
"Sometimes I got so bored of trying to touch her breasts that I would try to touch between her legs instead. It was like trying to borrow a dollar, getting turned down, and asking for fifty grand instead."
"My desert island, all-time, top-five most memorable breakups, in chronological order, are as follows: Alison Ashmore; Penny Hardwick; Jackie Alden; Charlie Nicholson; and Sarah Kendrew. Those were the ones that really hurt. [Yelling to Laura out the window] Can you see your name on that list, Laura? Maybe you'd sneak into the top ten. But there's just no room for you in the top five, sorry. Those places are reserved for the kind of humiliation and heartbreak you're just not capable of delivering."
"Top five things I miss about Laura. One; sense of humor. Very dry, but it can also be warm and forgiving. And she's got one of the best all time laughs in the history of all time laughs, she laughs with her entire body. Two; she's got character. Or at least she had character before the Ian nightmare. She's loyal and honest, and she doesn't even take it out on people when she's having a bad day. That's character. Three; I miss her smell, and the way she tastes. It's a mystery of human chemistry and I don't understand it, some people, as far as their senses are concerned, just feel like home. [lipsyncs four, while holding up four fingers] I really dig how she walks around. It's like she doesn't care how she looks or what she projects and it's not that she doesn't care it's just, she's not affected I guess, and that gives her grace. And five; she does this thing in bed when she can't get to sleep, she kinda half moans and then rubs her feet together an equal number of times... it just kills me. Believe me, I mean, I could do a top five things about her that drive me crazy but it's just your garden variety women you know, schizo stuff and that's the kind of thing that got me here."
"Now, the making of a good compilation tape is a very subtle art. Many do's and don'ts. First of all, you 're using someone else's poetry to express how you feel. This is a delicate thing."
"The making of a great compilation tape, like breaking up is hard to do. It takes ages longer than it might seem. You gotta kick it off with a killer to grab attention. Then you gotta take it up a notch. But you don't want to blow your wad. So then you gotta cool it off a notch. There are a lot of rules. Anyway, I've started to make a tape, in my head, for Laura. Full of stuff she'd like. Full of stuff that'd make her happy. For the first time I can sorta see how that's done."
"Some people never got over 'Nam, or the night their band opened for Nirvana. I guess I never really got over Charlie. But, the thing I learned from the whole Charlie debacle? You gotta punch your weight. See, Charlie? She was out of my class. She was too pretty. Too smart, too witty, too much."
"Rob, I'm telling you this for your own good, that's the worst fuckin' sweater I've ever seen, it's a Cosby sweater. A Cooooosssssssby sweataahhhh."
"Rob. Top 5 musical crimes perpetrated by Stevie Wonder in the 80s and 90s go... Sub-question: is it in fact unfair to criticize a formerly great artist for his latter day sins... is it better to burn out or fade awaaay?"
"Ah man, that's great. That's the fun thing about workin' in a record store - you get to play crappy pop you don't even wanna listen to."
"John Cusack - Rob Gordon"
"Iben Hjejle - Laura"
"Jack Black - Barry Judd"
"Todd Louiso - Dick"
"Catherine Zeta-Jones - Charlie Nicholson"
"Lisa Bonet - Marie DeSalle"
"Sara Gilbert - Annaugh Moss"
"Lili Taylor - Sarah Kendrew"
"Joan Cusack - Liz"
"Tim Robbins - Ian "Ray" Raymond"
"Joelle Carter - Penny Hardwick"
"[At the man standing on his head] Is it nasty this ring?"
"I like operations. They give you a sense of outlook, don't they?"
"Get sacrificed! I don't subscribe to your religion!"
"They have to paint me red before they chop me. It's a different religion than ours...I think."
"(regarding a broken ladder) All the rungs have been neatly sawed in the middle!"
"[on the phone] Hello, this is the famous Ringo."
"[After seeing a smoking curling stone] Hey, it's a thingy! A fiendish thingy!"
"Doesn't the Eastern flavour come rather expensive?"
"Jeweller, you've failed!"
"Scientist! You've failed Scientist!"
"[Watching a man standing on his head] Doesn't the blood rush to your head, sir?"
"Now see what you've done with your filthy Eastern ways!"
"My skin's soaked right through to the skin!"
"Ew, I'm all sticky! You're all red."
"[Watching a belly dancer] Doesn't the blood rush to your stomach?"
"[first lines] Is it a bird? Is it a plane? No, it's the latest craze sweeping the Pennines. I've got to be honest with you... right now I'd rather be sweeping the Pennines."
"[First address to camera; after his hang-gliding news report] You’re gonna be seeing a lot more of that sort of thing in the film. All of that actually did happen. Obviously, it’s symbolic. It works on both levels. I don’t want to tell you too much, don’t want to spoil the film. But I’ll just say, "Icarus." OK? If you know what I mean, great. If you don’t, doesn’t matter. But you should probably read more."
"[When caught receiving an act of oral sex from a prostitute by his wife Lindsay] It's not what it looks like, love!"
"[After Lindsay storms off when catching him with the prostitute; to Lindsay] I love you! [To the prostitute] Can you finish me off?"
"[When catching Lindsay having sex with Howard Devoto out of spite] I only got a blowjob. That's full penetration."
"[To Lindsay, who's breaking up with him after Ian Curtis's death] Energy, energy? You don't know what energy is. That is nothing more than a lot of new age hokum masquerading as spirituality."
"[To Peter Saville, about the tickets to the opening night of the Haçienda] They didn't hand out tickets to the Sermon on the Mount. People just turned up, they knew it was a good gig."
"[to his friends, about A Certain Ratio's surprising move to another genre] Jazz is the last refuge of the untalented. Jazz musicians enjoy themselves more than anyone listening to them does."
"[About the Happy Mondays, and when Shaun Ryder is introduced to Bez] Every band needs its own special chemistry. And Bez was a very good chemist."
"[At a gig at the Haçienda] And tonight something equally epoch-making is taking place. See? They're applauding the DJ. Not the music, not the musician, not the creator, but the medium. This is it. The birth of rave culture. The beatification of the beat. The dance age. This is the moment when even the white man starts dancing. Welcome to Madchester."
"[To an overweight Martin Hannett, during some sessions with the Happy Mondays] You can't threaten me anymore, Martin. You're a big man, but you're out of shape, although you could sit on me."
"[To the camera, while leaving Granada studios with Yvette Livesey for the first time] I'm being postmodern, before it was fashionable."
"[After a stoned Martin Hannett tries to set fire to him] I am not a lump of hash. I'm in charge of Factory Records. I think."
"[About the music scene surrounding the Haçienda] It was like being on a fantastic fairground ride, centrifugal forces throwing us wider and wider. But it's all right, because there's this brilliant machine at the center that's going to bring us back down to earth. That was Manchester. That is the Haçienda. Now imagine the machine breaks. For a while, it's even better, because you're really flying; but then, you're fucked, because nobody beats gravity."
"[On the glossing over of Hilary, his second wife] OK. I should have found time to tell you earlier: I did have children with my second wife, Hilary, and there was a time when I was with Lindsay when that was all I wanted, and no, I've not been the best father in the world; yes, I could have been there, more than I have; and obviously I've got regrets. But this is not a film about me. I am not Prince Hamlet, nor was meant to be. I'm a minor character in my own story. This is a film about the music, and the people who made the music: Ian Curtis, Shaun Ryder, and Martin Hannett."
"[after Shaun Ryder fires a gun in his general direction] You really ought to be careful with that, Shaun. You could take somebody's eye out."
"[Whilst hosting 'Wheel of Fortune'] Welcome to the Wheel of Fortune. There it is, the wheel that throughout the centuries has been used as a symbol for the vicissitudes of life. Boethius himself in his great work 'The Consolation of Philosophy' compares history to a great wheel, hoisting us up, then dropping us down again. "Inconsistency is my very essence" -says the wheel- "Raise yourself up on my spokes if you wish, but don't complain when you plunge back down" Now spin the wheel."
"[About a scene involving Vini Reilly] This scene didn't actually make it to the final cut. I'm sure it'll be on the DVD."
"[To Roger Ames, explaining Factory's vision] Factory Records are not actually a company. We are an experiment in human nature. You're labouring under the misapprehension that we actually have a deal with, er, with our, our bands. That we have any kind of a contract, er, at all, and I'm afraid we, er, we don't because that's, er, that's the sum total of the paperwork to do with Factory Records, deal with, er, their various bands."
"[To Roger Ames, explaining his raison d'etre for running Factory as he had been doing] I have protected myself from ever having to sell out by having nothing to sell out."
"Most of all, I love Manchester. The crumbling warehouses, the railway arches, the cheap abundant drugs. That's what did it in the end. Not the money, not the music, not even the guns. That is my heroic flaw: my excess of civic pride."
"[To Stephen Morris, on his drumming] Stop that fucking horrible racket, please. (...) Nothing wrong with the drumming as such. It's just people have been playing like that for the past 20,000 years and quite frankly, it's boring me arse off, y'know? Let's try something simpler. Faster, but slower."
"[On learning how much came out of the music budget to build the Haçienda] Well, goodbye. I mean, we obviously have nothing in common. I'm a genius, you're fucking wankers, you'll never see me again. You don't deserve to see me again."
"[To the members of the Happy Mondays] I'm still waiting, and it's very fucking boring! I'm gonna stick Bez's maracas up his fucking jacksie!"
"Bez: Can I offer anybody like the best drug experience they ever had?"
"God: It's a pity you didn't sign the Smiths, but you were right about Mick Hucknall. His music's rubbish, and he's a ginger."
"God: Tony, you did a good job. Basically you are right: Shaun is the greatest poet since Yeats."
"The Real Howard Devoto: [On his alleged affair with Tony Wilson's wife Lindsay] I definitely don't remember this happening."
"John the Postman: [singing "Louie, Louie" drunkenly] Pogo like a bastard!"
"Boethius: It's my belief that history is a wheel. "Inconstancy is my very essence" -says the wheel- "Rise up on my spokes if you like, but don't complain when you are cast back down into the depths. Good times pass away, but then so do the bad. Mutability is our tragedy, but it is also our hope. The worst of times, like the best, are always passing away"."
"Shaun Ryder [explaining his stay in Barbados]]: I was stranded on a desert island with no shelter nor companionship. Every day, I kept watch for rescue, but no-one came. My only distraction was to write lyrics for my forthcoming album, but then I thought... "Why the fuck should I?!""
"Roger Ames [reading Factory Records contract, written in Tony Wilson's blood]: The artists own all their work. The label owns nothing. Our bands have the freedom ... to fuck off."
"[From film poster:] Share the Ecstasy."
"The unbelievably true story of one man, one movement, the music and madness that was Manchester."
"[Over images of Ian Curtis, Shaun Ryder and Tony Wilson respectively:] Genius. Poet. Twat."
"Steve Coogan - Tony Wilson"
"Lennie James - Alan Erasmus"
"Shirley Henderson - Lindsay Wilson"
"Paddy Considine - Rob Gretton"
"Andy Serkis - Martin Hannett"
"Martin Hancock - Howard DeVoto"
"Chris Coghill - Bez"
"Mark Windows - Johnny Rotten"
"John Simm - Bernard Sumner"
"Dave Gorman - John"
"Ralf Little - Peter Hook"
"Danny Cunningham - Shaun Ryder"
"Paul Popplewell - Paul Ryder"
"John Thomson - Charles"
"Rob Brydon - Ryan Letts"
"[To the audience as he's coming out for an encore after a lengthy night of playing] You're still there, huh?"
"The Band had been together for 16 years together on the road. We played eight years in bars, dives and dancehalls, eight years in concerts, stadiums and arenas. We did our last concert. We called it The Last Waltz."
"Winterland was the first place The Band played as The Band. Some friends showed up and helped us take it home."
"[Talking about getting a job playing with Ronnie Hawkins] He called me up, and I said, "Sure I'd like a job. What does it mean? What do I do?" And he said, "Well, son, you won't make much money, but you'll get more pussy than Frank Sinatra.""
"The music took us to some strange places ... physically, spiritually, psychotically. It just wasn't always on stage."
"We started out with The Crackers. Tried to call ourselves The Honkies. Everybody sort of backed off. It was too straight. So we decided call ourselves The Band."
"I just want to break even."
"There is the view that jazz is evil because it comes from evil people, but the greatest priests on 52nd Street and on the streets of New York were the musicians. They were doing the greatest healing work. They knew how to punch through music which would cure and make people feel good."
"Happy Thanksgiving!"
"We always seemed to get a whole lot more done when we didn't have a lot of company around. We were more productive. And as soon as company came, of course, we'd start having fun. You know what happens when you have too much fun."
"People ask me about The Last Waltz all the time. Rick Danko dying at fifty-six is what I think about The Last Waltz. It was the biggest fuckin' rip-off that ever happened to The Band—without a doubt."
"I'm pretty sure that Levon [Helm] is the only honest, live element in The Last Waltz, with the exception of Muddy Water's vocal. Everything else was overdubbed and redone. Levon was basically gone, because he was disgusted with certain of the business practices. Robbie asked him to do his part over again, but Levon had nothing to do with it."
"Robbie was right in that there were some good reasons for overdubbing the whole thing. Richard wasn't singing well, Rick's bass was out of tune, and Robbie wanted to improve his guitar solos. Also, the horns were recorded completely out of balance and had to be redone in New York with arrangements Henry Glove and I put together."
"Opening title card: This film should be played loud!"
"Eric Clapton: [After his guitar strap comes loose during a solo] Hold on!"
"It started as a concert. It became a celebration. Now it's a legend."
"Robbie Robertson — Himself"
"Rick Danko — Himself"
"Richard Manuel — Himself"
"Levon Helm — Himself"
"Garth Hudson — Himself"
"You gotta lose your mind at Detroit Rock City!"
"Rock and roll all night. Party every day."
"They came. They saw. They rocked."
"Kiss The Rules Goodbye."
"Disco Sucks!"
"In October 1978, 4 high school students disappeared outside Detroit, Michigan. 20 years later, their footage was found."
"Edward Furlong - Hawk"
"Sam Huntington - Jeremiah "Jam" Bruce"
"Giuseppe Andrews - Lex"
"James DeBello - Trip Verudie"
"Lin Shaye - Mrs. Bruce"
"Melanie Lynskey - Beth Bumsteen"
"Natasha Lyonne - Christine"
"Emmanuelle Chriqui - Barbara"
"Shannon Tweed - Amanda Finch"
"Nick Scotti - Kenny"
"David Quane - Bobby"
"Joe Flaherty - Father Phillip McNulty"
"Cody Jones as Little Kid"
"Matthew G. Taylor - Chongo"
"Robert Smith - Simple Simon"
"Ron Jeremy - 0 Strip Club MC"
"Members of Kiss:"
"[singing] Daddy's flown across the ocean Leaving just a memory A snapshot in the family album Daddy, what else did you leave for me? Daddy, what'd ya leave behind for me? All in all, it was just a brick in the wall. All in all it was all just bricks in the wall."
"[singing] We don't need no education We don't need no thought control No dark sarcasm in the classroom Teacher, leave them kids alone Hey, teachers! leave them kids alone! All in all, it's just another brick in the wall. All in all, you're just another brick in the wall."
"[singing] I don't need no arms around me And I don't need no drugs to calm me. I have seen the writing on the wall. Don't think I need anything at all. No! Don't think I'll need anything at all. All in all, it was all just bricks in the wall. All in all, you were all just bricks in the wall."
"[singing] Are there any queers in the theatre tonight? Get 'em up against the wall! That one in the spotlight, he don't look right! Get him up against the wall! And that one looks Jewish... and that one's a coon! Who let all this riff raff into the room? That one's smoking a joint! And that one's got spots! If I had my way, I'd have all of you shot!"
"Stop! I wanna go home, take off this uniform, and leave the show. I'm waiting in this cell because I have to know... have I been guilty all this time?"
"Is there anybody out there?"
"You! You! Yes, you! Stand still, laddie!"
"When we grew up and went to school"
""What have we here, laddie? Mysterious scribblings? A secret code? Oh, poems, no less! Poems, everybody!"
"But in town it was well known"
"We don't need no education"
""An acre is the area of a rectangle"
"[A phone ringing]"
""Mother": [lyrics] Hush now baby, baby, don't you cry. Mother's gonna make all of your nightmares come true. Mother's gonna put all of her fears into you. Mother's gonna keep you right here under her wing. She won't let you fly, but she might let you sing. Mama will keep baby cozy and warm. Ooooh babe, ooooh babe, oooooh babe, Of course Mama's gonna help build the wall."
"Groupie: [While Pink watches TV, ignoring her] Oh, my God. What a fabulous room. Are all these your guitars? [Touches guitars] God. This place is bigger than our whole apartment. [Pause] You like the tube, huh? [Pause] Can I get a drink of water? Can I get you a drink of water? [Goes into the bathroom] Oh, wow! Look at this tub! Wanna take a bath? [Comes back out] What are you watching? [Her voice begins echoing and fading] Hello? Hello? Are you feeling okay?"
"Pink's Manager: [Discovers Pink's hotel room trashed, while Pink, who is due to perform, is unconscious] Fuck me! He's gone completely around the bleedin' twist! [to Pink] You vicious bastard, you never did like me, did you? [Inaudibly, continunes to harangue the unconscious Pink as the medical team attempts to revive him] The boy's an asthmatic."
"Hotel Manager: [Outraged by the condition of Pink's room] An asthmatic?"
"Pink's Manager: He's an artist! [Stuffs cash into hotel manager's pockets, then begins slapping Pink] He's coming around! There, you see! How do you feel? [Directs roadies as they dress the barely-conscious Pink and drag him out of hotel room, down the hall, and into a limousine, which will take him to the concert hall]."
"There were a number of different influences, some literary. Graham Swift’s novel Waterland [1983] was a book we had to read in school. It has multiple timelines, and the way it cuts between them and how effective that was, combining history with the present. I happened to read that around about the same time as I watched Alan Parker’s Pink Floyd: The Wall [1982], which is a truly remarkable, impressionistic film. Like, what the fuck is that movie? It’s quite marvellous. The way he uses the production design, the different timelines, the intermingling of memory, dream, things like that, it was very influential on me. And the cinema of Nicolas Roeg, in particular, the editing rhythms and the way he used things other than narrative and chronological progression, that all started to click with me."
"Pink Floyd The Wall. Now the film."
"The memories. The madness. The music... The movie."
"We know how to behave, we've had lessons."
"[In a female voice] I now declare this bridge open."
"He's sex obsessed. The older generation is leading this country to galloping ruin."
"[Wearing a beard, looking into a mirror] My name's Betty."
"Control yourself, you'll spurt."
"[Sees Ringo reading a magazine while wearing a Queen's guard bearskin hat] Hey, he's reading the Queen. That's an in-joke, you know."
"You're a swine."
"Mister, can we have our ball back?"
"If you lost him I'll cripple ya!"
"I like to keep Britain tidy."
"No, actually, we're just good friends."
""Oh, that this too too sullied flesh would melt..." [Quickly turns to the camera] ZAP!"
"[Regarding Ringo] He's very fussy about his drums, you know. They loom large in his legend."
"Hey, you won't interfere with the basic rugged concept of me personality, will you madam?"
"I don't think it's very likely we'll get on. The law of averages is against it."
"I'm going parading before it's too late."
"There you go, hiding behind a smokescreen of bourgeois clichés."
"Come in, number seven, your time's up!"
"Norm: Shake, that that wig off, it suits you."
"Shake: [Trying to follow the Beatles into a casino, past a security guard] I'm with them. I'm, uh, Ringo's sister."
"TV Director: Get me a bottle of milk and some tranquilizers. I see it all now, it's a plot... a plot..."
"John Lennon - Himself"
"Paul McCartney - Himself"
"George Harrison - Himself"
"Ringo Starr - Himself"
"Wilfred Brambell - Grandfather"
"Norman Rossington - Himself"
"John Junkin - Shake"
"Victor Spinetti - TV Director"
"Anna Quayle - Millie"
"Richard Vernon - Gentleman on Train"
"[To a crucifix] How does it feel?"
"[Looking up at a giant Jesus on the cross] Do your early stuff!"
"How can I answer that if you got the nerve to ask me?"
"See, you just want me to say what you want me to say."
"Yeah, I have none of those feelings."
"God, I'm glad I'm not me."
"Yeah, it's chaos, it's clocks, it's watermelons, it's everything."
"Everybody knows I'm not a folk singer."
"I don't need to look to someone else to tell me I'm good. Slaughter me for all I care; I refuse to be hurt."
"Good and evil were invented by people trapped in scenes!"
"I accept chaos. I don't know whether it accepts me."
"You know, it's nature's will. And I'm against nature. I don't dig nature at all."
"Seven simple rules for life in hiding:"
"Woody Guthrie was dead, Little Richard was becoming a preacher, so whether you're a folksinger or a Christian, rock 'n' roll was the devil. Me? I was in a ditch, up a cliff, out of step, ready to quit. I wrote the kind of stuff you write when you have no place to live and you're wrapped up in the fire pump. I nearly killed myself with pity and despair. And then I wrote it. It was like swimming in lava. Skipping, kicking, catching a nail with your foot. Seeing your victim hanging from a tree."
"You don't have to write anything down to be a poet. Some work in gas stations. Some shine shoes. I don't really call myself one because I don't like the word. Me? I'm a trapeze artist. Sighting it and hearing it and breathing it in; rubbing it all in the pores of my skin. And the wind between my eyes, milk and honey in my comb."
"I know I have a sickness festering somewhere. I don't mean like Woody Guthrie, wasting away in some hospital. I couldn't do that, decay like that. That's nature's will, and I'm against nature. I don't dig nature at all. The only truly natural things are dreams, which nature cannot touch with decay."
"All they want from me is finger-pointin' songs. I only got ten fingers."
"It's a fierce sort of feeling, thinking something is expected of you but you don't know exactly what it is. Brings forth a weird kind of guilt."
"New York, August 7 of 1964. Congress grants President Johnson complete authority over the war while she studies painting at Cooper Union and he completes dubbing on his first major film. She tells him she's sure it will be a hit. And the cats across the roof, mad in love, scream into drainpipes. And it's I who am ready, ready to listen. Never tired, never sad, never guilty."
"Grain of Sand would become the underground hit of 1965 and Robbie Clark the new James Dean, Marlon Brando, and Jack Kerouac all rolled into one. But the movie disappointed her. The more they tried to make it youthful, the more the energies on screen seemed out of date. It wasn't the film they had dreamed, the film they had imagined and discussed. The film they each wanted to live."
"People are always talking about freedom. Freedom to live a certain way, without being kicked around. 'Course, the more you live a certain way, the less it feel like freedom. Me, I can change during the course of a day. I wake and I'm one person, when I go to sleep I know for certain I'm somebody else. I don't know who I am most of the time."
"It's like you got yesterday, today and tomorrow, all in the same room. There's no telling what can happen."
"Cate Blanchett – Jude Quinn"
"Ben Whishaw – Arthur Rimbaud"
"Christian Bale – Jack Rollins/Pastor Jack"
"Richard Gere – Billy the Kid"
"Marcus Carl Franklin – Woody Guthrie"
"Heath Ledger – Robbie Clark"
"Fiona: You can kiss my cellulite-free ass for all I've done for you!"
"Valerie: Wyatt, you messed with the wrong pussy!"
"Mr. Moviefone: Conform! Free will is overrated! Jump on the bandwagon! There is no such place as Area 51!"
"here kitty, kitty, kitty..."
"Rachael Leigh Cook — Josie McCoy"
"Rosario Dawson — Valerie Brown"
"Tara Reid — Melody Valentine"
"Gabriel Mann — Alan M."
"Paulo Costanzo — Alexander Cabot"
"Missi Pyle — Alexandra Cabot"
"Parker Posey — Fiona"
"Alan Cumming — Wyatt Frame"
"Carson Daly — himself"
"Aries Spears — the other Carson Daly"
"Eugene Levy — himself"
"Everyone asks where these songs come from, Sylvie. But then you watch their faces, and they're not asking where the songs come from. They're asking why the songs didn't come to them."
"Your songs are like an oil painting at the dentist's office."
"More and more people have been showing up, and they're bringing their teaspoons. Teaspoons for justice, and teaspoons for peace, and teaspoons for love, and that's what we do. And, gosh, you showed up, Bobby, and damn it, if you didn't bring a shovel."
"You know, you're kind of an asshole, Bob."
"Dave Van Ronk: You can call it country or blues or rock'n'roll - we all keep rewriting the same song."
"He defied everyone to change everything."
"The ballad of a true original."
"Timothée Chalamet - Bob Dylan"
"Edward Norton - Pete Seeger"
"Elle Fanning - Sylvie Russo"
"Monica Barbaro - Joan Baez"
"Boyd Holbrook - Johnny Cash"
"Dan Fogler - Albert Grossman"
"Norbert Leo Butz - Alan Lomax"
"Eriko Hatsune - Toshi Seeger"
"Big Bill Morganfield - Jesse Moffette"
"Will Harrison - Bob Neuwirth"
"Scoot McNairy - Woody Guthrie"
"P. J. Byrne - Harold Leventhal"
"Michael Chernus - Theodore Bikel"
"Charlie Tahan - Al Kooper"
"Ryan Harris Brown - Mark Spoelstra"
"Eli Brown - Mike Bloomfield"
"Nick Pupo - Peter Yarrow"
"Laura Kariuki - Becka"
"Stephen Carter Carlsen - Paul Stookey"
"Eric Berryman - Tom Wilson"
"David Alan Basche - John Hammond"
"Joe Tippett - Dave Van Ronk"
"James Austin Johnson - Gerdes M.C."
"Kayli Carter - Maria Muldaur"
"Sarah King - Barbara Dane"
"Will Price - Joe Boyd"
"Joshua Henry - Brownie McGhee"
"Molly Jobe - CBS Receptionist"
"Well, what do you expect? "A grown man living in a kid's world." What do you think I'm doing out there? Cashing in my E tickets for a ride through the Magic Kingdom? You think I'm playing my gigs in The Haunted House?"
"See, it's not that we don't want to have our heart torn out, it's just that we're trying to make a ballsy record here."
"[Reading Matty's song lyrics to Marion] "Hey, baby, don't be cruel. I'm gonna pick you up and we'll have a date at the pizza parlor. You can have a pizza, and I can have one, too. But you didn't want a pizza, so I said 'So long, babe.'" See that? And you were worried that he was going to be a songwriter."
"Paul Simon - Jonah Levin"
"Blair Brown - Marion Levin"
"Rip Torn - Walter Fox"
"Joan Hackett - Lonnie Fox"
"Allen Garfield - Cal van Damp"
"Mare Winningham - Modeena Dandridge"
"Michael Pearlman - Matty Levin"
"Lou Reed - Steve Kunelian"
"Steve Gadd - Danny Duggin"
"Eric Gale - Lee-Andrew Parker"
"Tony Levin - John Dibatista"
"Richard Tee - Clarence Franklin"
"Harry Shearer - Bernie Wepner"
"Daniel Stern - Hare Krishna"