Arnold Movie Quotes

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I once saw Arnold Schwarzenegger kill a man in a movie by grabbing his head and twisting it until the neck broke. Was that difficult? Could a man do it without a lot of practice?
David Wong (John Dies at the End (John Dies at the End, #1))
I never argued with people who underestimated me. If the accent and the muscles and the movies made people think I was stupid, it worked to my advantage
Arnold Schwarzenegger (Total Recall: My Unbelievably True Life Story)
I feel like we’re in an action movie like True Lies. I’m Jamie Lee Curtis, and you’re Arnold Schwarzenegger.” “I’ll be back,” Jakob said in a deep Austrian accent, and I laughed.
J.S. Cooper (Resolution (Swept Away #3))
Whenever I finished filming a movie, I felt my job was only half done. Every film had to be nurtured in the marketplace. You can have the greatest movie in the world, but if you don’t get it out there, if people don’t know about it, you have nothing.
Arnold Schwarzenegger (Total Recall: My Unbelievably True Life Story)
I was striving to be the most muscular man, and it got me into the movies. It got me everything that I have.
Arnold Schwarzenegger
If my life was a movie, no one would believe it.
Arnold Schwarzenegger
It was a tough movie to make, with lots of stunts and injuries and craziness and night shooting and dust.
Arnold Schwarzenegger (Total Recall: My Unbelievably True Life Story)
Now the denominator ... why don't they just call it the bottom number? The denominator ... that sounds like a Schwarzenegger movie doesn't it? [impersonating Arnold Schwarzenegger] I am the Denominator. I'll give your leg a compound fraction!
Tim Allen
He saw Hercules in the movie theater time after time, hour after hour, examining Park, judging him, admiring him, and, ultimately, promising himself that one day he, Arnold Schwarzenegger, then thirteen years old and poor as he was, would be like him, would even surpass Reg Park.
Wendy Leigh (Arnold: Unauthorized Biography of Arnold Schwarzenegger)
[…] Stallone and I had been feuding for years. This went back to the early Rocky and Rambo days, when he was the number one action hero, and I was always trying to catch up. I remember saying to Maria when I made Conan the Destroyer, “I’, finally getting paid a million dollars for a movie, but now Stallone’s making three million. I feel like I’m standing still.” To energize myself, I’d envisioned Stallone as my archenemy, just like I had demonized [bodybuilder] Sergio Oliva when I was trying to take the Mr. Olympia crown. I got so into hating Sly that I started criticizing him in public –his body, the way he dressed- and I was quoted as badmouthing him in the press.
Arnold Schwarzenegger (Total Recall: My Unbelievably True Life Story)
began to walk home, very quickly. A car full of high-school girls screeched around the corner. They were the girls who ran all the clubs and won all the elections in Allison’s high-school class: little Lisa Leavitt; Pam McCormick, with her dark ponytail, and Ginger Herbert, who had won the Beauty Revue; Sissy Arnold, who wasn’t as pretty as the rest of them but just as popular. Their faces—like movie starlets’, universally worshiped in the lower grades—smiled from practically every page of the yearbook. There they were, triumphant, on the yellowed, floodlit turf of the football field—in cheerleader uniform, in majorette spangles, gloved and gowned for homecoming; convulsed with laughter on a carnival ride (Favorites) or tumbling elated in the back of a September haywagon (Sweethearts)—and despite the range of costume, athletic to casual to formal wear, they were like dolls whose smiles and hair-dos never changed.
Donna Tartt (The Little Friend (Vintage Contemporaries))
November 22   |   Matthew 21:33–44 In a parable, Jesus tells the story of a landowner who plants a vineyard, leases it to tenants, and then goes to another country. After a time, he sends servants to the vineyard to collect the fruit. Rather than give the master his profit, the tenants beat one servant, stone another, and kill a third. In response, the landowner sends more servants, only to see the same thing happen to them. Finally, thinking surely they will respect his son, the landowner sends his heir to the vineyard. Believing they will be able to keep the vineyard for themselves, the tenants kill the son. At that point, Jesus asks the Pharisees what the landowner will do in this situation. The Pharisees say what we would all say; they suggest doing what we would all want to do: “He will put those wretches to a miserable death” (v. 41 ESV). In other words, he’s going to turn that place into an Arnold Schwarzenegger movie: no survivors. You see, the Pharisees, like us, are tuned in to the law. They’re thinking in terms of an eye for an eye and a tooth for a tooth. They can’t see Jesus’s underlying point: they’re the tenants. Jesus quotes them Psalm 118, saying that the stone the builders rejected has become the chief cornerstone. The son sent to the vineyard was rejected by the tenants … but that’s not the end of our story. Jesus says that anyone who comes into contact with this stone will be broken. All of our efforts, whether aimed at rebellion or at righteousness, will cease. The chief cornerstone will break us. There’s one important difference between the heir in the parable and Jesus. Jesus didn’t stay dead! And because Jesus was raised to new life and has given that new life to us, we can leave all our striving behind.
Tullian Tchividjian (It Is Finished: 365 Days of Good News)
Although the hyperreal operates as its own type of reality, this does not mean that its provenance is divorced from the material conditions in which we live. The fact that the images that the media project can be readily identified as "representations," rather than the truth of the matter, works to further mask the political, social, and cultural interests involved. At the same time, these images have the force of reality and serve as a conduit of meaning. No doubt, viewers can recognize the Arab terrorists in the Arnold Schwarzenegger film True Lies (1994) as fictional characters ("It's just a movie!"), but these images undoubtedly reinforce, if not substantially inform, American viewers' notions of Islam and the U.S.-Middle East conflict.
Jane Naomi Iwamura (Virtual Orientalism: Asian Religions and American Popular Culture)
I said, "I'm satisfied teaching the martial arts." "Not me," Arnold responded. "Bodybuilding is just a stepping-stone to me. I plan on becoming a real estate mogul, and from there, I plan to get into the movies." I had to smile as I said to myself, "How's he going to be an actor when he can hardly speak English?
Chuck Norris (Against All Odds: My Story)
You can overthink anything. There are always negatives. The more you know, the less you tend to do something. If I had known everything about real estate, movies, and bodybuilding, I wouldn’t have gone into them. I felt the same about marriage; I might not have done it if I’d known everything I’d have to go through. The hell with that! I knew Maria was the best woman for me, and that’s all that counted.
Arnold Schwarzenegger (Total Recall: My Unbelievably True Life Story)
One of the boys groaned. “Great, man. She’s on the rag, she’s depressed. She gets pregnant, she’s no longer on the rag—and she’s depressed. She has a baby, and she’s depressed. I’m getting depressed just thinking about it.” “That’s not surprising,” Allison said smoothly. “It can be depressing to realize you can’t just hang out with your friends at night. You can’t go to a movie on a whim, or go out clubbing. You have responsibilities now. You’ve got to spend time with your baby. How do we deal with this depression?
Judith Arnold (Father Found (The Daddy School, #1))
What if we allow the unexpected and unwanted interruptions to remind us that we never were in control in the first place? What if the disruptions we try so hard to avoid are actually opportunities in disguise? After all, the best part of a movie occurs when the hero's back is against the wall and all hope seems lost.
Allen Arnold (The Story of With: A Better Way to Live, Love, & Create)
I never argued with people who underestimated me. If the accent and the muscles and the movies made people think I was stupid, it worked to my advantage.
Arnold Schwarzenegger (Total Recall)
Yeah. That's what happened. We sat around, nobody talked. I don't understand marriage, Charlie. What are you supposed to do with your wife? I mean, most of the time. CHARLIE (Thinking) Most of the time, Arnold, you don't even see each other. You're away working. You come home, and you eat. Then one of you washes the dishes. Then, if you're not tired, you can go to the movies or visit somebody. Or you watch Tee Vee.
Paddy Chayefsky (The Collected Works of Paddy Chayefsky: The Television Plays (Applause Books))
In the words of the great Samuel L. Jackson as Arnold in the 1993 movie, Jurassic Park: “hang on to your butts.
Aziz Gazipura (Not Nice: Stop People Pleasing, Staying Silent, & Feeling Guilty... And Start Speaking Up, Saying No, Asking Boldly, And Unapologetically Being Yourself)
Call me old-fashioned, but The Shape of Water is a tour de force. Maddening. Heartfelt. Sick. Nostalgic. An Ode to Todd McCarthy, Arnold Glassman, and Stuart Samuels’ documentary film, Visions of Light. By all means, take a bow.
A.K. Kuykendall
Feature for feature, he wasn’t exactly movie-star handsome. Yet he appealed to her in ways she wasn’t used to.
Judith Arnold (Father Found (The Daddy School, #1))
Whenever I finished filming a movie, I felt my job was only half done. Every film had to be nurtured in the marketplace. You can have the greatest movie in the world, but if you don’t get it out there, if people don’t know about it, you have nothing. It’s the same with poetry, with painting, with writing, with inventions. It always blew my mind that some of the greatest artists, from Michelangelo to van Gogh, never sold much because they didn’t know how. They had to rely on some schmuck—some agent or manager or gallery owner—to do it for them. Picasso would go into a restaurant and do a drawing or paint a plate for a meal. Now you go to these restaurants in Madrid, and the Picassos are hanging on the walls, worth millions of dollars. That wasn’t going to happen to my movies. Same with bodybuilding, same with politics—no matter what I did in life, I was aware that you had to sell it.
Arnold Schwarzenegger (Total Recall: My Unbelievably True Life Story)