Epic Comeback Quotes

This world has three kinds of people. The ones who can count, and the ones who can’t.

But what we did do is get interstitials with different colors and movement that reflected the scene that just happened or previewed the one to come. I started to match what my comedic take on the end of a scene was with what the interstitial was doing. I gave them names. One was called “Up Yours,” so if somebody slams somebody [or has a comeback to what they say], the atom would swoop up like an arm coming up at you. If it was a goofy ending, I had one that would swirl through called “Oogle Google.” If the scene was a hard-hitting, funny moment, it would come straight at the camera, which I called “Coming at Ya.” And then if the scene was with Penny, Amy, and Bernadette, I had one with three atoms called “Triple Threat.” If the four guys were in the scene, it would be atoms from the four corners that would come straight at you. I also started to match the colors to the scene. I would use the aquamarine color if we were coming out of or going to Penny’s apartment because it matched her couch or what they were wearing. My assistant and I knew, and that was it. I never told anybody.

You're so fat you can’t even do the ABC’s, just the KFC’s.

Money talks. For instance, mine keeps saying “good bye.

I couldn’t hold it in on the elevator and pooped myself. Taking this shit to a whole new level.

The phrases “I’m sorry” and “I apologize” are exactly the same. Unless you’re saying it at a funeral.

I’m really glad you helped me figure out the definition for the word “many.” It meant a lot.

Are you seeing a pattern here? The man with the perfect Super Bowl record was far from perfect in those games. He threw too many interceptions, he missed a lot of passes, he made a lot of mistakes. Yet, he also led his team to epic fourth-quarter comebacks.

Epic, adult and widescreen in its ambitions, the beefed-up Comeback version of 'Let Yourself Go' sounded almost violent in its execution, with Elvis's raw and desperate vocals every match for the gargantuan, aggressive horns and percussion that dominated the mix. A big, sweaty, dusty monster of a take towered over the Culver City version, and perfectly captured the tumultuous social and political strife of its era in dissonant musical form. This new version of 'Let Yourself Go' was unfailingly magnificent in its vision.