All Quotes

"Every town has a story. Tombstone has a legend."

"Gregory Smith - Ephram Brown"

"Magnolia is a film of sadness and loss, of lifelong bitterness, of children harmed and adults destroying themselves. As the narrator tells us near the end, "We may be through with the past, but the past is never through with us." In this wreckage of lifetimes, there are two figures, a policeman and a nurse, who do what they can to offer help, hope and love. … The central theme is cruelty to children, and its lasting effect. This is closely linked to a loathing or fear of behaving as we are told, or think, that we should. … As an act of filmmaking, it draws us in and doesn't let go. It begins deceptively, with a little documentary about amazing coincidences (including the scuba diver scooped by a fire-fighting plane and dumped on a forest fire) … coincidences and strange events do happen, and they are as real as everything else. If you could stand back far enough, in fact, everything would be revealed as a coincidence. What we call "coincidences" are limited to the ones we happen to notice. … In one beautiful sequence, Anderson cuts between most of the major characters all simultaneously singing Aimee Mann's "It's Not Going to Stop." A directorial flourish? You know what? I think it's a coincidence. Unlike many other "hypertext movies" with interlinking plots, Magnolia seems to be using the device in a deeper, more philosophical way. Anderson sees these people joined at a level below any possible knowledge, down where fate and destiny lie. They have been joined by their actions and their choices. And all leads to the remarkable, famous, sequence near the film's end when it rains frogs. Yes. Countless frogs, still alive, all over Los Angeles, falling from the sky. That this device has sometimes been joked about puzzles me. I find it a way to elevate the whole story into a larger realm of inexplicable but real behavior. We need something beyond the human to add another dimension. Frogs have rained from the sky eight times this century, but never mind the facts. Attend instead to Exodus 8:2, which is cited on a placard in the film: "And if thou refuse to let them go, behold, I will smite your whole territory with frogs." Let who go? In this case, I believe, it refers not to people, but to fears, shames, sins. Magnolia is one of those rare films that works in two entirely different ways. In one sense, it tells absorbing stories, filled with detail, told with precision and not a little humor. On another sense, it is a parable. The message of the parable, as with all good parables, is expressed not in words but in emotions. After we have felt the pain of these people, and felt the love of the policeman and the nurse, we have been taught something intangible, but necessary to know."

"Pixar is the first studio that is a movie star."

"It is human nature to look away from illness. We don't enjoy a reminder of our own fragile mortality. That's why writing on the Internet has become a life-saver for me. My ability to think and write have not been affected. And on the Web, my real voice finds expression."

"I had a colonoscopy once, and they let me watch it on TV. It was more entertaining than The Brown Bunny."

"One of the remarkable things about Russ Meyer's films is that they continue to live and play, long after the other work of the soft-core era has been forgotten. That is partly because of their craftsmanship, partly because of Meyer's leading ladies, and partly because of a spirit of paramilitary commitment that can be sensed as the cast and crew struggle through rugged terrain to enact their rural melodramas. But the central reason, I believe, is that Meyer is an auteur whose every frame reflects his own obsessions. Like all serious artists, he doesn't allow any space between his work and his dream."

"When I think about the kinds of movies that make me cry, that make tears come to my eyes, I usually don't think about sad films. Sad films, I sort of just look at it. It's movies that are about selflessness, that are about sacrifice, about humans that believe in the good of the human race that sometimes move me."

"Of what use is freedom of speech to those who fear to offend?"

"Art is the closest we can come to understanding how a stranger really feels."

"Well, what is a political film? A film about politicians? Or a film about issues — sexism, racism, the environment, nuclear policy? I decided on the broader definition. If I'd limited myself to films about politicians, it would have been a short list: How many characters in any mainstream American movie seem aware of the political process, or belong to a party?"

"Doing research on the Web is like using a library assembled piecemeal by pack rats and vandalized nightly."

"Film theory has nothing to do with film. Students presumably hope to find out something about film, and all they will find out is an occult and arcane language designed only for the purpose of excluding those who have not mastered it and giving academic rewards to those who have. No one with any literacy, taste or intelligence would want to teach these courses, so the bona fide definition of people teaching them are people who are incapable of teaching anything else."

"Many moviegoers and video viewers say they do not "like" black and white films. In my opinion, they are cutting themselves off from much of the mystery and beauty of the movies. Black and white is an artistic choice, a medium that has strengths and traditions, especially in its use of light and shadow. Moviegoers of course have the right to dislike b&w, but it is not something they should be proud of. It reveals them, frankly, as cinematically illiterate. I have been described as a snob on this issue. But snobs exclude; they do not include. To exclude b&w from your choices is an admission that you have a closed mind, a limited imagination, or are lacking in taste."

"A depressing number of people seem to process everything literally. They are to wit as a blind man is to a forest, able to find every tree, but each one coming as a surprise."

"2001 is a nonverbal experience; out of two hours and nineteen minutes of film, there are only a little less than forty minutes of dialog. I tried to create a visual experience, one that bypasses verbalized pigeonholing and directly penetrates the subconscious with an emotional and philosophic content. To convolute McLuhan, in 2001 the message is the medium. I intended the film to be an intensely subjective experience that reaches the viewer at an inner level of consciousness, just as music does; to "explain" a Beethoven symphony would be to emasculate it by erecting an artificial barrier between conception and appreciation. You're free to speculate as you wish about the philosophical and allegorical meaning of the film - and such speculation is one indication that it has succeeded in gripping an audience at a deep level - but I don't want to spell out a verbal road map for 2001 that every viewer will feel obligated to purchase or else fear he's missed the point. I think that if 2001 succeeds at all, it is in reaching a wide spectrum of people who would not often give a thought to man's destiny, his role in the cosmos and his relationship to higher forms of life. But even in the case of someone who is highly intelligent, certain ideas found in 2001, if presented as abstractions, would fall rather lifelessly and be automatically assigned to pat intellectual categories; as experiences in a moving visual and emotional context, however, they can resonate within the deepest fibers of one's being."

"If anyone understands it on the first viewing, we've failed in our intention."

"I've tried to avoid doing this ever since the picture came out. When you just say the ideas they sound foolish, whereas if they’re dramatized one feels it, but I'll try. The idea was supposed to be that he is taken in by god-like entities, creatures of pure energy and intelligence with no shape or form. They put him in what I suppose you could describe as a human zoo to study him, and his whole life passes from that point on in that room. And he has no sense of time. It just seems to happen as it does in the film. They choose this room, which is a very inaccurate replica of French architecture (deliberately so, inaccurate) because one was suggesting that they had some idea of something that he might think was pretty, but wasn't quite sure. Just as we're not quite sure what to do in zoos with animals to try to give them what we think is their natural environment. Anyway, when they get finished with him, as happens in so many myths of all cultures in the world, he is transformed into some kind of super being and sent back to Earth, transformed and made into some sort of superman. We have to only guess what happens when he goes back. It is the pattern of a great deal of mythology, and that is what we were trying to suggest."

"An epic drama of adventure and exploration."

"Man's colony on the Moon … a whole new generation has been born and is living there … a quarter-million miles from Earth."

"The Ultimate Trip."

"An astounding entertainment experience."

"My God, it's full of stars."

":Not present in film, but present in book as David Bowman enters the monolith, in form:"

"::"The thing's hollow — it goes on forever — and — oh my God! — it's full of stars!" (p. 254 of paperback edition)"

":Also referenced in sequel 2010: The Year We Make Contact, whose opening sequence contains:"

"::LAST TRANSMISSION FROM COMMANDER BOWMAN: "MY GOD, IT'S FULL OF STARS.""

"Keir Dullea – Dr. Dave Bowman"

"Gary Lockwood – Dr. Frank Poole"

"William Sylvester – Dr. Heywood R. Floyd"

"Daniel Richter – Moon-Watcher"

"Leonard Rossiter – Dr. Andrei Smyslov"

"Margaret Tyzack – Elena"

"Robert Beatty – Dr. Ralph Halvorsen"

"Sean Sullivan – Dr. Bill Michaels"

"Douglas Rain – HAL 9000 (voice)"

"No one is exempt from talking nonsense. The great misfortune is to do it solemnly."

"The Master would frequently assert that holiness was less a matter of what one did than of what one allowed to happen."

"Thought can organize the world so well that you are no longer able to see it."

"A thought is a screen, not a mirror; that is why you live in a thought envelope, untouched by Reality."

"Any time you are with anyone or think of anyone you must say to yourself: I am dying and this person too is dying, attempting the while to experience the truth of the words you are saying. If every one of you agrees to practise this, bitterness will die out, harmony will arise."

"The Master would insist that the final barrier to our attaining God was the word and concept "God.""

"A disciple was one day recalling how Buddha, Jesus, Mohammed were branded as rebels and heretics by their contemporaries. Said the Master, Nobody can be said to have attained the pinnacle of Truth until a thousand sincere people have denounced him for blasphemy."

"The Master never ceased to attack the notions about God that people entertain."

"A good teacher offers practice, a bad one offers theories."

"The feigning sleeper can delude others — he cannot delude himself. The false mystic, unfortunately, can delude both others and himself."

"If you never condemned you would never need to forgive."

"A zealous disciple expressed a desire to teach others the Truth and asked the Master what he thought about this. The Master said, "Wait." Each year the disciple would return with the same request and each time the Master would give him the same reply: "Wait." One day he said to the Master, "When will I be ready to teach?" Said the Master, "When your excessive eagerness to teach has left you.""

""What is love?" "The total absence of fear," said the Master. "What is it we fear?" "Love," said the Master."

"The Master insisted that what he taught was nothing, what he did was nothing. His disciples gradually discovered that Wisdom comes to those who learn nothing, unlearn everything. That transformation is the consequence not of something done, but of something dropped."