Sean

"When are you going to take it?"

"Sometimes I don't. If I like a moment, for me, personally, I don't like to have the distraction of the camera. I just want to stay in it."

"Stay in it?"

"Yeah. Right there. Right here."

The Secret Life of Walter Mitty

Frances

"Tell me the story of us."

"Again?... All right, Frances. We’re gonna take over the world."

"You’ll be this awesomely bitchy publishing mogul."

"And you’ll be this famous modern dancer…and I’ll publish a really expensive book about you."

"The d-bags we make fun of will put on their coffee tables."

"And we’ll co-own a vacation apartment in Paris."

"And we’ll have lovers."

"And no children."

"And we’ll speak at college graduations."

"And honorary degrees."

"So many honorary degrees." 

Foreign-language films are made all over the world. Of course, except in America.

Și tot apropo de Holy Motors, iată încă o mostră vie de delicioasă nebunie Caraxiană, rostită de regizor la decernarea premiilor Los Angeles Film Critics Association. Enjoy :)

”Hello, I’m Leos Carax, director of foreign-language films. I’ve been making foreign-language films my whole life. Foreign-language films are made all over the world, of course, except in America. In America, they only make non-foreign-language films. Foreign-language films are very hard to make, obviously, because you have to invent a foreign language instead of using the usual language. But the truth is, cinema is a foreign language, a language created for those who need to travel to the other side of life. Good night.”

The elevator button

It is a well-known fact that the close-the-door button in most elevators is a totally dysfunctional placebo which is placed there just to give individuals the impression that they are somehow participating, contributing to the speed of the elevator journey. When we push this button the door closes in exactly the same time as when we just press the floor button without speeding up the process by pressing also the close-the-door button. This extreme and clear case of fake participation is, I claim, an appropriate metaphor [for] the participation of individuals in our post-modern political process.

Slavoj Zizek - Human Rights and Its Discontents

Homo videns

It's like this. You wake, watch TV, get in your car, listen to the radio. You go to your little job or little school, but you don't hear about that on the 6 o'clock news. Why? 'Cause nothing is really happening. And you go home and watch some more TV or maybe it's a fun night and you go out and watch a movie. I mean it's got so bad that half the people on TV, inside the TV, they're watching TV. What are all these people watching? People like me.

(Ezra Miller / Kevin in We Need to Talk About Kevin)

Allons enfants de la patrie!

La Adina si la previziunile ei oscarigene m-am gândit while watching this :)

Is it newsworthy? Yes. Are we gonna air it? Of course not.

You pay me to get guys like Wigand, to draw him out. To get him to trust us, to get him to go on television. I do. I deliver him. He sits. He talks. He violates his own fucking confidentiality agreement. And he's only the key witness in the biggest public health reform issue, maybe the biggest, most-expensive corporate-malfeasance case in U.S. history. And Jeffrey Wigand, who's out on a limb, does he go on television and tell the truth? Yes. Is it newsworthy? Yes. Are we gonna air it? Of course not. Why? Because he's not telling the truth? No. Because he is telling the truth. That's why we're not going to air it. And the more truth he tells, the worse it gets!

The Insider (1999), r. Michael Mann

Dirty Pretty Things

"Gou Yi, today I also found something. In a lavatory, in one of the hotel rooms. Someone's heart. A heart. A human heart. I'm only telling you this because you're a rational mal. [...] Why would anyone do that to a human heart?

These sound to me like questions. I don't ask questions after eleven years here."

Another Day in Paradise

I wanted someone who was sexy, vivacious, sensual with that sweet voice of hers and everything else and had taken a turn around the hardest curve in a woman’s life, turning forty years old. (...)

You have this sex kitten playing a sex kitten passé. Yet she had to have the acting chops to go into real dark places. "You’re going to be lifting your skirt and sticking a needle in your groin on camera. You’re going to be doing some hard stuff here. You can’t say you’re going to do it and then get on the set and say,‘Well, I don’t know if I can do that. I’m a star.’ None of that.” And everything that was expected of her she did and she went right to the edge of the envelope every time. And I knew she’d do it because she’s a real actor.

(James Woods on casting Melanie Griffith in Another Day in Paradise)