Coco Movie Quotes

You think all your memories are yours alone, but often they are given by others: versions of events repeated by family, scenes stolen from a movie watched half-sleeping, dreams willed into existence.

Everyone else got to wear their regular outfits from the first movie. I had to wear my outfit that Jabba picked out for me. Jabba the Hutt—the fashionista. Jabba the Hutt—the Coco Chanel of intergalactic style. Trendsetter, fashion maven, leader of women’s looks in his world, on his planet and the next. In wax, I would forever be outfitted by outlaw Jabba. In wax and out, I would forever be stone-faced.

I slumped down on the couch with the kids. Coco had been such a big movie last year. What would be the next Pixar hit? Whatever it was, Aunt Linda would never get to know it. Even if it was bigger than Frozen, she'd never know it existed. Any song that come out from this week onward, Aunt Linda would never hear. Not once. Everything she was ever going to know about had already happened. Britney Spears could be voted the new president of the United States, and Aunt Linda would never know. The government might finally admit they have aliens in a warehouse, and Aunt Linda would never know. The world would keep moving, and tragedies would happen, and beautiful things would happen, and we'd invent things and grow and Aunt Linda would never see any of it.

I am not super-attached to my career,' Audrey Tautou says in that sultry, Gallic voice of hers, a glint of recklessness in her big brown eyes. 'I have several plan Bs: I want to become a sailor; I like to draw; I would love to learn many things, but I don’t have time…' She trails off, leaving an uncertain silence hanging over the Kensington hotel room where we’ve met to discuss her latest film, a delightful comic confection called Beautiful Lies. 'That is the problem, you know,' she continues, more carefully. 'That is the reason why I will quit acting very soon.' She lets out a strange little laugh, a creaky exhalation, as if her own admission has taken her by surprise... 'I didn’t want to have this power,' she says, with a shrug. 'I would rather have freedom; and to find that you have to stop being in big, exposed movies. I don’t surf on the big waves. When I see them coming, I take my board and go straight back to the beach.'... 'I am always surprised to be chosen by a director for a role because I never understand why they like me,' she says. Surely, I suggest, that is false modesty, coming from one of Europe’s most bankable stars. 'Oh no, really, I am serious,' she says, leaning forward and planting her feet back on the carpet. 'I am always surprised to be cast.' Does her track record – in Jeunet’s hits; or in Stephen Frears’s acclaimed Dirty Pretty Things, or as a compellingly self-possessed Coco Chanel in Anne Fontaine’s 2009 biopic – not give her at least a little confidence? 'No,' she says with a scowl, 'pas du tout.' 'A few months ago, I watched one of my old movies and I thought to myself, 'Oh, Jesus!’ Thank God that at the point I made that film I didn’t realise the extent to which I was terrible. Oh, mon dieu! Mon dieu!' But surely, I say, she can take from that the reassurance that she has only improved as an actress. 'Or,' she says, jabbing a finger in the air, 'I say to myself, does it simply mean that if in another 10 years I rewatch the films I am making today I will say, 'Oh mon dieu, how terrible I was then.’ She laughs that odd, breathy laugh again and then looks me dead in the eye. 'You have to be very careful in this life.

You think all your memories are yours alone, but often they are given by others: versions of events repeated by family, scenes stolen from a movie watched half-sleeping, dreams willed into existence. I want to say that everything that follows here are my memories but I’m not sure. I’m not sure whose they are, or if they indeed ever belonged to anyone. In the end I’m not sure it matters. Sometimes all we know of families are the myths we are told and the fragile heaviness we carry inside, the sound of snapping in the ear.

The little black dress turned the color associated with housemaids’ uniforms and widow’s weeds into a marker of privileged yet.… accessible—and somehow American (Ford-like)—freedom. Chanel summed up the phenomenon simply: “Before me, no one would have dared dress in black. For four or five years, I did nothing but black, with a little white collar, which sold like hotcakes, I made a fortune. Everyone wore a little black dress … movie actresses, housemaids.

Four weeks doesn’t seem long in the grand scheme of things, but the more I’ve gotten to know him, the more I’ve wanted to climb him like a tree. There is something about learning the tough, muscular hockey player’s favorite movie is Coco. It does funny things to your insides.

Coco sighs and sets down her book. She’s reading The Secret History by Donna Tartt. She can’t believe it’s never been made into a movie.

If one thing is accomplished in this story of the aftermath of Gettysburg, it is the hope that we can dispel some of the pure nonsense and myth that has grown up surrounding the Civil War, and which is perpetuated even now by movies, novels, and battle reenactments around the country.

When I first read about the theory many years ago, my first thought was that life was all about not just biological life but life. No wonder a two-hour movie can capture—or seem to capture—the entire life of Mahatma Gandhi, Frida Kahlo, Muhammad Ali, or Coco Chanel. Moviemakers use punctuated equilibria to eliminate the stasis from the lives of heroes and celebrities, highlighting only the punctuations. History books apply the same technique to chronicle the life of an entire civilization over thousands of years by compressing narratives into a few hundred pages. On my desk lies a copy of Duff McDonald’s book The Firm: The Story of McKinsey and Its Secret Influence on American Business, which compresses almost a century of the consulting firm’s existence into a mere four hundred pages. Now that I have seen the theory, I can no longer unsee it; it seems to apply everywhere I look. But let me not get carried away.