Arnold Schwarzenegger Movie Quotes

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?

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

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.

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 was a tough movie to make, with lots of stunts and injuries and craziness and night shooting and dust.

If my life was a movie, no one would believe it.

I was striving to be the most muscular man, and it got me into the movies. It got me everything that I have.

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!

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.

[…] 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.

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.

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.

Sitting in the Jacuzzi is where I got the idea for my speech to the American people after the events of January 6, 2021. Like most people, I watched the riots unfold at the US Capitol on television and then in great depth on social media. And like most people, I went through a range of emotions. Disbelief. Frustration. Confusion. Anger. Then, finally, sadness. I was sad for our country, because this was a dark day. But I also felt bad for all the men and women, young and old, whom the cameras found, as television networks covered the historic moment and broadcast their angry, desperate, alienated faces across the planet. Whether they liked it or not, this was going to be the mark those people left on the world. This would be their legacy. I thought about them a lot that night as I sat in the Jacuzzi letting the jets loosen up my neck and shoulder muscles, which were tense from the stress of the day. I slowly came to the conclusion that what we all watched that day wasn’t the exercise of political speech, it wasn’t an attempt to refresh the tree of liberty with the blood of patriots and tyrants, as Thomas Jefferson might say . . . it was a cry for help. And I wanted to help them. Since 2003, that has been my life’s focus. Helping people. Public service. Using the power that comes with fame and with political office to make a difference in the lives of as many people as possible. That was the direction my vision took for the third act in the movie of my life. But this was something different. Something more. I was watching all these videos and reading real-time updates on Twitter and Instagram from people who were there. Protesters. Police. Bystanders. Reporters. If they could reach me through social media, I thought, then I could reach them.

When it comes to realizing your dreams, you cannot allow that to happen. In fact, it should never happen, because no one is better equipped or motivated than you to sell your vision to the world. It doesn't matter if you want to move your family to a different country or your football team to a new town, if you want to make movies or make a difference, if you want to build a business, buy a farm, join the military, or create an empire. No matter the size of your dream, you have to know how to sell it and who to sell it to.

When failure is a positive part of the game you play, it's much less scary to search for the limits of your ability— whether that's speaking English, acting in big movies, or tackling big social problems— and then once you've found those limits, to grow beyond them. The only way to do that, though, is to constantly test yourself in a manner that risks repeated failure.

And ever since then, I have turned any kind of negativity directed my way into motivation. The quickest way to get me to bench press five hundred pounds is to tell me it can't be done. The easiest way to ensure that I would become a movie star was to laugh when I told you my plan and then to tell me I couldn't do it.

If Reg Park, a kid from a small factory town in En-gland, can become Mr. Universe and then a movie star, why couldn't I? If millions of European immigrants can come to America with nothing but a suitcase and a dream and make a life for themselves, why couldn't I' If Ronald Reagan, an actor, can become governor of California, why couldn't I? And if I can do what I did, why can't you?

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.

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.

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.