Ellis Die Hard Quotes

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The book is almost always better than the movie. You could have no better case in point than FROM HELL, Alan Moore's best graphic novel to date, brilliantly illustrated by Eddie Campbell. It's hard to describe just how much better the book is. It's like, "If the movie was an episode of Battlestar Galactica with a guest appearance by the Smurfs and everyone spoke Dutch, the graphic novel is Citizen Kane with added sex scenes and music by your favourite ten bands and everyone in the world you ever hated dies at the end." That's how much better it is.
Warren Ellis
Maybe humans need animals to help them understand the world. Certainly it’s hard to see what else cats do for humans, aside from looking cute and killing the odd mouse.
Elly Griffiths (A Dying Fall (Ruth Galloway, #5))
These questions are punctuated by other questions, as diverse as "Will I ever do time?" and "Did this girl have a trusting heart?" The smell of meat and blood clouds up the condo until I don't notice it anymore. And later my macabre joy sours and I'm weeping for myself, unable to find solace in any of this, crying out, sobbing "I just want to be loved," cursing the earth and everything I have been taught: principles, distinctions, choices, morals, compromises, knowledge, unity, prayer - all of it was wrong, without any final purpose. All it came down to was: die or adapt. I imagine my own vacant face, the disembodied voice coming from its mouth: These are terrible times. Maggots already writhe across the human sausage, the drool pouring from my lips dribbles over them, and still I can't tell if I'm cooking any of this correctly, because I'm crying too hard and I have never really cooked anything before.
Bret Easton Ellis (American Psycho)
It's a physical sickness. Etienne. How much I love him. I love Etienne. I love it when he cocks an eyebrow whenever I say something he finds clever or amusing. I love listening to his boots clomp across my bedroom ceiling. I love that the accent over his first name is called an acute accent, and that he has a cute accent. I love that. I love sitting beside him in physics. Brushing against him during lands. His messy handwriting on our worksheets. I love handing him his backpack when class is over,because then my fingers smell like him for the next ten minutes. And when Amanda says something lame, and he seeks me out to exchange an eye roll-I love that,too. I love his boyish laugh and his wrinkled shirts and his ridiculous knitted hat. I love his large brown eyes,and the way he bites his nails,and I love his hair so much I could die. There's only one thing I don't love about him. Her. If I didn't like Ellie before,it's nothing compared to how I feel now. It doesn't matter that I can count how many times we've met on one hand. It's that first image, that's what I can't shake. Under the streeplamp. Her fingers in his hair. Anytime I'm alone, my mind wanders back to that night. I take it further. She touches his chest. I take it further.His bedroom.He slips off her dress,their lips lock, their bodies press,and-oh my God-my temperature rises,and my stomach is sick. I fantasize about their breakup. How he could hurt her,and she could hurt him,and of all the ways I could hurt her back. I want to grab her Parisian-styled hair and yank it so hard it rips from her skull. I want to sink my claws into her eyeballs and scrape. It turns out I am not a nice person. Etienne and I rarely discussed her before, but she's completely taboo now. Which tortures me, because since we've gotten back from winter break, they seem to be having problems again. Like an obsessed stalker,I tally the evenings he spend with me versus the evening he spends with her. I'm winning.
Stephanie Perkins (Anna and the French Kiss (Anna and the French Kiss, #1))
I want to undress you, touch you, kiss you, taste you. And then I want you to taste yourself on my mouth." He kissed her again, hot and strong and long. One hand crept to her clothed breast, kneading it. "I want you hard and hot and deep and fast. And then I want you slow and sweet. I want you to wrap those beautiful long legs around me. I want you under me and on top of me and sitting and standing. I want to see your eyes when pleasure makes you light up. I want to hold you when you come down and try to find your breath. I want everything with you, Ellie. I care about you more than I've cared about a woman in so long. I hardly recognized the feelings. I'm dying for you." (Noah Kincaid)
Robyn Carr (Forbidden Falls (Virgin River, #8))
I love you Camden. I love you so damn, fucking much and it's so right and it's so wrong because people are dying, and we're almost dying and Gus is out there and my mother and we can't trust anybody and all I can think about is you. All I can think about is how much I love you and how badly I fucked everything up and I I don't deserves you but I need you." I made a fist with my hands and pounded it against his chest, hard, my tears flowing. "I fucking need you and I need you to forgive me. I need that more than anything in the world! I need you to make me good." He swallowed hard, letting me hit him, his fingers strong on my jaw. "Ellie, Ellie, Ellie. You are good, deep down you always have been. You don't need me for that.
Karina Halle (Bold Tricks (The Artists Trilogy, #3))
On the TV screen in Harry's is The Patty Winters Show, which is now on in the afternoon and is up against Geraldo Rivera, Phil Donahue and Oprah Winfrey. Today's topic is Does Economic Success Equal Happiness? The answer, in Harry's this afternoon, is a roar of resounding "Definitely," followed by much hooting, the guys all cheering together in a friendly way. On the screen now are scenes from President Bush's inauguration early this year, then a speech from former President Reagan, while Patty delivers a hard-to-hear commentary. Soon a tiresome debate forms over whether he's lying or not, even though we don't, can't, hear the words. The first and really only one to complain is Price, who, though I think he's bothered by something else, uses this opportunity to vent his frustration, looks inappropriately stunned, asks, "How can he lie like that? How can he pull that shit?" "Oh Christ," I moan. "What shit? Now where do we have reservations at? I mean I'm not really hungry but I would like to have reservations somewhere. How about 220?" An afterthought: "McDermott, how did that rate in the new Zagat's?" "No way," Farrell complains before Craig can answer. "The coke I scored there last time was cut with so much laxative I actually had to take a shit in M.K." "Yeah, yeah, life sucks and then you die." "Low point of the night," Farrell mutters. "Weren't you with Kyria the last time you were there?" Goodrich asks. "Wasn't that the low point?" "She caught me on call waiting. What could I do?" Farrell shrugs. "I apologize." "Caught him on call waiting." McDermott nudges me, dubious. "Shut up, McDermott," Farrell says, snapping Craig's suspenders. "Date a beggar." "You forgot something, Farrell," Preston mentions. "McDermott is a beggar." "How's Courtney?" Farrell asks Craig, leering. "Just say no." Someone laughs. Price looks away from the television screen, then at Craig, and he tries to hide his displeasure by asking me, waving at the TV, "I don't believe it. He looks so... normal. He seems so... out of it. So... un dangerous." "Bimbo, bimbo," someone says. "Bypass, bypass." "He is totally harmless, you geek. Was totally harmless. Just like you are totally harmless. But he did do all that shit and you have failed to get us into 150, so, you know, what can I say?" McDermott shrugs. "I just don't get how someone, anyone, can appear that way yet be involved in such total shit," Price says, ignoring Craig, averting his eyes from Farrell. He takes out a cigar and studies it sadly. To me it still looks like there's a smudge on Price's forehead. "Because Nancy was right behind him?" Farrell guesses, looking up from the Quotrek. "Because Nancy did it?" "How can you be so fucking, I don't know, cool about it?" Price, to whom something really eerie has obviously happened, sounds genuinely perplexed. Rumor has it that he was in rehab.
Bret Easton Ellis (American Psycho)
My huge generalities touched on millennials’ oversensitivity, their sense of entitlement, their insistence that they were always right despite sometimes overwhelming proof to the contrary, their failure to consider anything within its context, their joint tendencies of overreaction and passive-aggressive positivity—incidentally, all of these misdemeanors happening only sometimes, not always, and possibly exacerbated by the meds many this age had been fed since childhood by overprotective, helicopter moms and dads mapping their every move. These parents, whether tail-end baby boomers or Gen Xers, now seemed to be rebelling against their own rebelliousness because they felt they’d never really been loved by their own selfish narcissistic true-boomer parents, and who as a result were smothering their kids and not teaching them how to deal with life’s hardships about how things actually work: people might not like you, this person will not love you back, kids are really cruel, work sucks, it’s hard to be good at something, your days will be made up of failure and disappointment, you’re not talented, people suffer, people grow old, people die. And the response from Generation Wuss was to collapse into sentimentality and create victim narratives, instead of grappling with the cold realities by struggling and processing them and then moving on, better prepared to navigate an often hostile or indifferent world that doesn’t care if you exist.
Bret Easton Ellis (White)
And in a way, because of his illness, your father died some time ago, didn’t he? You’ve probably been grieving his loss for months, maybe years. Don’t be too hard on yourself, Nikki. There’s no rule book with sections and sub-sections that defines the exact method for grieving.
Joy Ellis (Killer on the Fens (DI Nikki Galena #4))
Cadfael refrained from elaborating on the profit FitzHamon expected for his benevolence. It was never worth arguing with Jerome, who in any case knew as well as anyone that the silver lilies and the rent of one farm were no free gift. But Brother Oswald said grievingly: “I wish he had directed his charity better. Surely these are beautiful things, a delight to the eyes, but well sold, they could have provided money enough to buy the means of keeping my poorest petitioners alive through the winter, some of whom will surely die for the want of them.” Brother Jerome was scandalised. “Has he not given them to Our Lady herself?” he lamented indignantly. “Beware of the sin of those apostles who cried out with the same complaint against the woman who brought the pot of spikenard, and poured it over the Saviour’s feet. Remember Our Lord’s reproof to them, that they should let her alone, for she had done well!” “Our Lord was acknowledging a well-meant impulse of devotion,” said Brother Oswald with spirit, “He did not say it was well advised! “She hath done what she could” is what he said. He never said that with a little thought she might not have done better. What use would it have been to wound the giver, after the thing was done? Spilled oil of spikenard could hardly be recovered.
Ellis Peters (A Rare Benedictine: The Advent of Brother Cadfael (Chronicles of Brother Cadfael, #0.5))
I want to undress you, touch you, kiss you, taste you. And then I want you to taste yourself on my mouth.” He kissed her again, hot and strong and long. One hand crept to her clothed breast, kneading it. “I want you hard and hot and deep and fast. And then I want you slow and sweet. I want you to wrap those beautiful long legs around me. I want you under me and on top of me and sitting and standing. I want to see your eyes when pleasure makes you light up. I want to hold you when you come down and try to find your breath. I want everything with you, Ellie. I care about you more than I’ve cared about a woman in so long, I hardly recognized the feelings. I’m dying for you.” “Oh, God,” she whispered, moving against him. “Tell me,” he demanded. “Tell me you feel something for me. I taste it. Tell me you’re not just lonely.” “Of course I feel something, you big dope. Why do you think this scares the holy hell out of me? But I thought you’d be the one with the great control! Besides, we’re too different!” He
Robyn Carr (Forbidden Falls)
Eventually Washington ordered his doctors to cease their barbarisms and let him go in peace. “Doctor, I die hard,” he muttered, “but I am not afraid to go.” Then he gave an intriguing final instruction to Lear: “I am just going. Have me decently buried, and do not let my body be put into the Vault in less than two days after I am dead. . . . Do you understand me?” Washington believed that several apparently dead people, perhaps including Jesus, had really been buried alive, a fate he wished to avoid. His statement also calls attention to a missing presence at the deathbed scene: there were no ministers in the room, no prayers uttered, no Christian rituals offering the solace of everlasting life. The inevitable renderings of Washington’s death by nineteenth-century artists often added religious symbols to the scene, frequently depicting his body ascending into heaven surrounded by a chorus of angels. The historical evidence suggests that Washington did not think much about heaven or angels; the only place he knew his body was going was into the ground, and as for his soul, its ultimate location was unknowable. He died as a Roman stoic rather than a Christian saint.
Joseph J. Ellis (His Excellency: George Washington)
Intellectual Fascism – 2/3 Take, by way of illustration, two well-educated, presumably liberal, intelligent people in our culture who are arguing with each other about some point. What, out of irritation and disgust, is one likely to call the other? A "filthy black," a "dirty Jew bastard," or a "black-eyed runt"? Heavens, no. But a "stupid idiot," a "nincompoop," a "misinformed numbskull"? By all means, yes. And will the note of venom, of utter despisement that is in the detractor's voice, be any different from that in the voice of the out-and-out fascist with his racial, religious, and political epithets? Honestly, now: will it? Suppose the individual against whom a well-educated, presumably liberal, intelligent person aims scorn actually is stupid, or misinformed. Is this a crime? Should he, perforce, curl up and die because he is so afflicted? Is she an utterly worthless, valueless blackguard for not possessing the degree of intelligence and knowledge that her detractor thinks she should possess? And yet - let us be ruthlessly honest with ourselves, now! - isn't this exactly what the presumably liberal person is saying and implying - that the individual whose traits she dislikes doesn't deserve to live? Isn't this what we (for it is not hard to recognize our own image here, is it?) frequently are alleging when we argue with, criticize, and judge others in our everyday living? The facts, in regard to higher-order fascism, are just as clear as those in regard to lower-order prejudice. For just as everyone in our society cannot be, except through the process of arbitrary genocide or "eugenic" elimination, Aryan, or tall, or white, so cannot everyone be bright, or artistically talented, or successful in some profession. In fact, even if we deliberately bred only higher intelligent and artistically endowed individuals to each other, and forced the rest of the human race to die off, we still would be far from obtaining a race of universal achievers: since, by definition, topflight achievement can only be attained by a relatively few leaders in most fields of endeavour, and is a "relative" rather than an "absolute" possibility. The implicit goals of intellectual fascism, then, are, at least in today's world, impractical and utopian. Everyone cannot be endowed with artistic or intellectual genius; only a small minority can be. And if we demand that all be in that minority, to what are we automatically condemning those who clearly cannot be? Obviously: to being blamed and despised for their "deficiencies"; to being lower-class citizens; to having self-hatred and minimal self-acceptance. Even this, however, hardly plumbs the inherent viciousness of intellectual fascism. For whereas lower-order or politico-economic fascism at least serves as a form of neurotic defensiveness for those who uphold its tenets, higher-order fascism fails to provide such defences and actually destroys them. Thus, politico-social fascists believe that others are to be despised for not having certain "desirable" traits - but that they are not to be applauded for having them. From a psychological standpoint, they compensate for their own underlying feelings of inadequacy by insisting that they are super-adequate and those who are not like them are subhumans. Intellectual Fascists start out with a similar assumption but more often than not get blown to bits by their own homemade explosives. For although they can at first assume that they are bright, talented, and potentially achieving, they must eventually prove that they are. Because, in the last analysis, they tend to define talent and intelligence in terms of concrete achievement, and because outstanding achievement in our society is mathematically restricted to a few, they rarely can have real confidence in their own possession of the values they have "arbitrarily deified".
Albert Ellis
Moshe had few friends. Most of Pottstown’s Jews had left Chicken Hill by then. Nate was a friend, but he was a Negro, so there was that space between them. But with Malachi, there was no space. They were fellow escapees who, having endured the landing at Ellis Island and escaped the grinding sweatshops and vicious crime of the vermin-infested Lower East Side, had arrived by hook or crook in the land of opportunity that was Pennsylvania, home to Quakers, Mormons, and Presbyterians. Who cared that life was lonely, that jobs were thankless drudgery, that the romance of the proud American state was myth, that the rules of life were laid carefully in neat books and laws written by stern Europeans who stalked the town and state like the grim reaper, with their righteous churches spouting that Jews murdered their precious Jesus Christ? Their fellow Pennsylvanians knew nothing about the shattered shtetls and destroyed synagogues of the old country; they had not set eyes on the stunned elderly immigrants starving in tenements in New York, the old ones who came alone, who spoke Yiddish only, whose children died or left them to live in charity homes, the women frightened until the end, the men consigned to a life of selling vegetables and fruits on horse-drawn carts. They were a lost nation spread across the American countryside, bewildered, their yeshiva education useless, their proud history ignored, as the clankety-clank of American industry churned around them, their proud past as watchmakers and tailors, scholars and historians, musicians and artists, gone, wasted. Americans cared about money. And power. And government. Jews had none of those things; their job was to tread lightly in the land of milk and honey and be thankful that they were free to walk the land without getting their duffs kicked—or worse. Life in America was hard, but it was free, and if you worked hard, you might gain some opportunity, maybe even open a shop or business of some kind.
James McBride (The Heaven & Earth Grocery Store)