Film Subtitles Quotes

Do you like foreign films?” “With subtitles?” “Yes.” “I hate those types of films.” “Me too,” Cliff says. “Mostly because - “ “No happy endings.

It is so strange, to encounter an ex. It's as if you're in a foreign film, and what you're saying face-to-face has nothing to do with the subtitles flowing beneath you. We are so careful not to touch, although once upon a time, I slept plastered to him in our bed, like lichen on a rock. We are two strangers who knows every shameful secret, every hidden freckle, every fatal flaw in each other.

The Swedish he knew was mostly from Bergman films. He had learned it as a college student, matching the subtitles to the sounds. In Swedish, he could only converse on the darkest of subjects.

I laughed and shook my head. ‘I don’t think so. My mum doesn’t really go out. And it’s not my cup of tea.’ ‘Like films with subtitles weren’t your cup of tea?’ I frowned at him. ‘I’m not your project, Will. This isn’t My Fair Lady.’ ‘Pygmalion.’ ‘What?’ ‘The play you’re referring to. It’s Pygmalion. My Fair Lady is just its bastard offspring.

By age twelve I had memorized all the Qur’an’s words, yet understood few of them—a bit like repeatedly watching a foreign film without any subtitles, knowing the scenes in detail without comprehending the dialogue.

Once you overcome the one-inch tall barrier of subtitles, you will be introduced to so many more amazing films.

We were thirsty for some form of beauty, even in an incomprehensible, overintellectual, abstract film with no subtitles and censored out of recognition. There was a sense of wonder at being in a public place for the first time in years without fear or anger, being in a place with a crowd of strangers that was not a demonstration, a protest rally, a breadline or a public execution...For a brief time we experienced collectively the kind of awful beauty that can only be grasped at through extreme anguish and expressed through art.

Hey, I got an idea, let’s go to the movies. I wanna go to the movies, I want to take you all to the movies. Let’s go and experience the art of the cinema. Let’s begin with the Scream Of Fear, and we are going to haunt us for the rest of our lives. And then let’s go see The Great Escape, and spend our summer jumping our bikes, just like Steve McQueen over barb wire. And then let’s catch The Seven Samurai for some reason on PBS, and we’ll feel like we speak Japanese because we can read the subtitles and hear the language at the same time. And then let’s lose sleep the night before we see 2001: A Space Odyssey because we have this idea that it’s going to change forever the way we look at films. And then let’s go see it four times in one year. And let’s see Woodstock three times in one year and let’s see Taxi Driver twice in one week. And let’s see Close Encounters of the Third Kind just so we can freeze there in mid-popcorn. And when the kids are old enough, let’s sit them together on the sofa and screen City Lights and Stage Coach and The Best Years of Our Lives and On The Waterfront and Midnight Cowboy and Five Easy Pieces and The Last Picture Show and Raging Bull and Schindler’s List… so that they can understand how the human condition can be captured by this amalgam of light and sound and literature we call the cinema.

I've done a Russian movie," Claire said. "Thank God they're still stuck in realism, Zola-crazy. Subtitling their films is like captioning a child's picture book.

When he’d finished, he produced an unbranded packet of cigarettes: stubby, filterless, lethal. A health warning would have been like subtitles on a porn film. Utterly beside the point.

Yet in recent years I have witnessed a new phenomenon among filmgoers, especially those considered intelligent and perceptive. I have a name for this phenomenon: the Instant White-out. People are closeted in cozy darkness; they turn off their mobile phones and willingly give themselves, for ninety minutes or two hours, to a new film that got a fourstar rating in the newspaper. They follow the pictures and the plot, understand what is spoken either in the original tongue or via dubbing or subtitles, enjoy lush locations and clever scenes, and even if they find the story superficial or preposterous, it is not enough to pry them from their seats and make them leave the theatre in the middle of the show. But something strange happens. After a short while, a week or two, sometimes even less, the film is whitened out, erased, as if it never happened. They can’t remember its name, or who the actors were, or the plot. The movie fades into the darkness of the movie house, and what remains is at most a ticket stub left accidentally in one’s pocket.

The virtuality of war is not, then, a metaphor. It is the literal passage from reality into fiction, or rather the immediate metamorphosis of the real into fiction. The real is now merely the asymptotic horizon of the Virtual. And it isn't just the reality of the real that's at issue in all this, but the reality of cinema. It's a little like Disneyland: the theme parks are now merely an alibi - masking the fact that the whole context of life has been disneyfied. It's the same with the cinema: the films produced today are merely the visible allegory of the cinematic form that has taken over everything - social and political life, the landscape, war, etc. - the form of life totally scripted for the screen. This is no doubt why cinema is disappearing: because it has passed into reality. Reality is disappearing at the hands of the cinema and cinema is disappearing at the hands of reality. A lethal transfusion in which each loses its specificity. If we view history as a film - which it has become in spite of us - then the truth of information consists in the postsynchronization, dubbing and sub-titling of the film of history.

Hey, I got an idea, let’s go to the movies. I wanna go to the movies, I want to take you all to the movies. Let’s go and experience the art of the cinema. Let’s begin with the Scream Of Fear, and we're gonna have it haunt us for the rest of our lives. And then let’s go see The Great Escape, and spend our summer jumping our bikes, just like Steve McQueen over barb wire. And then let’s catch The Seven Samurai for some reason on PBS, and we’ll feel like we speak Japanese because we can read the subtitles and hear the language at the same time. And then let’s lose sleep the night before we see 2001: A Space Odyssey because we have this idea that it’s going to change forever the way we look at films. And then let’s go see it four times in one year. And let’s see Woodstock three times in one year and let’s see Taxi Driver twice in one week. And let’s see Close Encounters of the Third Kind just so we can freeze there in mid-popcorn. And when the kids are old enough, let’s sit them together on the sofa and screen City Lights and Stage Coach and The Best Years of Our Lives and On The Waterfront and Midnight Cowboy and Five Easy Pieces and The Last Picture Show and Raging Bull and Schindler’s List… so that they can understand how the human condition can be captured by this amalgam of light and sound and literature we call the cinema.

He loved Elspeth so much, and he hoped that she knew it. Yet it occurred to him that she might not be sure of that because he had not told her – or at least he had not told her recently. Wives and husbands, it seemed to him, did not say that sort of thing: it was all left unsaid – assumed, perhaps, but not spelled out. That was the problem with life in general – we slipped into a rut in which we failed to state what we meant by the things we did. Our lives, Matthew thought, can become like silent films without the subtitles.

of marbles. When he’d finished, he produced an unbranded packet of cigarettes: stubby, filterless, lethal. A health warning would have been like subtitles on a porn film. Utterly beside the point.

After dessert, they invited me to go with them to the arts center for a Russian film with English subtitles. I said, "I don't like to read during movies," and once Julia laughed it became a joke and made me feel that I was irrepressibly witty. So I went with them. It was the bleakest movie I'd ever seen; everyone died of heartbreak or starvation or both. At home, Julia threw herself on the sofa in Slavic despair and said, "Please do get me some vodka.

There is a book to be written, for instance, on small errors in subtitles. In the Fred Astaire musical Royal Wedding, for instance, the English girl he falls for, played by Sarah Churchill (daughter of Sir Winston), is engaged to an American, whom we never see but who’s called Hal—like Falstaff’s prince, like a good high Englishman. That English H, though, was completely inaudible to the French translator who did the subtitles, and so throughout the film the absent lover is referred to in the subtitles as Al—Al like a stagehand, Al like my grandfather. If you have the habit of print addiction, so that you are listening and reading at the same time, this guy Al keeps forcing his way into the movie. “But what shall I say to Hal—that I have never loved him?” Patricia says to Fred. Down below it says, “Et Al—qu’est-ce que je vais lui dire?

Looking back on that time it seems to me that such rapture over Tarkovsky by an audience most of whom would not have known how to spell his name, and who would under normal circumstances have ignored or even disliked his work, arose from our intense sensory deprivation. We were thirsty for some form of beauty, even in an incomprehensible, overintellectual, abstract film with no subtitles and censored out of recognition. There was a sense of wonder at being in a public place for the first time in years without fear or anger, being in a place with a crowd of strangers that was not a demonstration, a protest rally, a breadline or a public execution.

That was the problem with life in general – we slipped into a rut in which we failed to state what we meant by the things we did. Our lives, Matthew thought, can become like silent films without the subtitles.

The ceremony was beautiful, and as Hope and Mark stood beneath the towering floral arch, I couldn't help but think this scene truly looked like something out of a fairytale wedding. I even started feeling a little emotional--- until they started to recite their vows. Hope had told me earlier that she and Mark had written their own vows but failed to say more about them. At first, I thought my hearing had failed or I was having some kind of stroke. "What language is that?" I whispered to Dom from our perch in the back. "I... I actually think it's a pretend language," he replied. "What are you talking about?" I asked. "What do you mean pretend language?" "Do you have one of the programs with you?" he asked. "I bet there's a note in there about it." "No, but let me grab one." I didn't have to go far before I found the table at the back of the aisle and a basket full of programs. Each program was iridescent, in the shape of a flower with a beautiful lilac ribbon tied at the bottom. Under the order of service, a small line read: "The bride and groom have chosen to recite their own vows to one another in their favorite mythical tongue: Sindarin, one of the Elvish languages of Tolkein." My eyes were wide as saucers. Both the Elvish and English translations were printed below for everyone to follow along. Dom was going to lose it for sure. I quietly moved back to my seat next to Dom, who was still filming. "You're not going to believe what I'm about to tell you," I whispered as I casually fanned myself with the floral program. "What is it?" he asked. "It's Elvish," I said, holding back a laugh. "What?" he replied a little too loud. "Keep your voice down," I said, now pointing to the line in the program as proof. "Like, from The Lord of the Rings?" "I can't believe she didn't mention this to me earlier," I said. "But yes, I think so. This wedding is just full of surprises." "For once, I'm at a loss for words," Dom said. "They are clearly perfect for each other if this was something they both enjoyed. I bet they go to all those conferences for people who like fantasy stuff." "Maybe that's what they're doing for their honeymoon," I added. "I haven't asked them about it yet. If it is, I'm going to die." We were both holding back giggles at this point, but thankfully the couple finished reciting whatever it was they were saying to each other. I wondered whether we'd need to add subtitles to our video if we showed this part of the ceremony. As soon as the officiant pronounced them man and wife, the ceremony musicians played a set of chimes and the officiant asked for every guest to open the small box that was placed at the base of every bench. Inside each box was a butterfly that flew into the air and fluttered around the entire area above all the guests. I supposed that since real fairies weren't available, butterflies were the next best option. It was actually the perfect ending to this mythical ceremony, and everyone cheered in delight.

The world has gone silent and black and white, like a 1920s film, and the subtitles say someone is screaming. I thought I was on the train, but no, I'm tied to the tracks. I thought there was a villain, but no, I tied myself here. I thought the ropes must be tight, but no, I could get up, I could go. The train bears down, and I thought I would save myself, but no - the subtitles say someone is screaming. But my mouth is open, and nothing is coming out.

What if it’s an art film with subtitles?” “Then I’ll suffer in silence.

I think about how the majority of her films feature women of a certain age, women who are often addressed as halmoni. I always assumed Inseon’s outgoing nature would have played a large part in generating the extraordinary intimacy of her interviews. That as the women paused in their remarks or trailed off into silence when their eyes fell on the camera, Inseon would have sat across from them, her face open and sincere, and tried her best to meet their gaze. It was this off-screen face of hers I pictured while watching her documentary on Việt Nam, specifically the scene where the local guide is translating Inseon’s questions to the woman who lives alone in a remote jungle village. She is asking if you have a story you want to tell her about that night. Above the somewhat stiffly translated subtitles, the woman looks past the camera. Her short white hair is tucked behind her ears, her face small and gaunt, and her eyes are unusually sharp. This person came here from Korea to ask you this. Finally, the woman speaks. All right. I’ll tell you. She stares steadily at the camera with remarkable focus, not once glancing at the interpreter. The gleam in her eyes pierced the lens and—I imagined—Inseon’s eyes, lancing directly into my own. This was the reply of someone who had waited a very long time for this moment. This brief consent, I realized, held the entire weight of her life.