Film Wonder Quotes

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Nothing is original. Steal from anywhere that resonates with inspiration or fuels your imagination. Devour old films, new films, music, books, paintings, photographs, poems, dreams, random conversations, architecture, bridges, street signs, trees, clouds, bodies of water, light and shadows. Select only things to steal from that speak directly to your soul. If you do this, your work (and theft) will be authentic. Authenticity is invaluable; originality is non-existent. And don’t bother concealing your thievery - celebrate it if you feel like it. In any case, always remember what Jean-Luc Godard said: “It’s not where you take things from - it’s where you take them to." [MovieMaker Magazine #53 - Winter, January 22, 2004 ]
Jim Jarmusch
Did men ever look in the mirror, I wondered, and find themselves wanting in deeply fundamental ways? When they opened a newspaper or watched a film, were they presented with nothing but exceptionally handsome young men, and did this make them feel intimidated, inferior, because they were not as young, not as handsome? Did they then read newspaper articles ridiculing those same handsome men if they gained weight or wore something unflattering?
Gail Honeyman (Eleanor Oliphant Is Completely Fine)
And I want to play hide-and-seek and give you my clothes and tell you I like your shoes and sit on the steps while you take a bath and massage your neck and kiss your feet and hold your hand and go for a meal and not mind when you eat my food and meet you at Rudy's and talk about the day and type up your letters and carry your boxes and laugh at your paranoia and give you tapes you don't listen to and watch great films and watch terrible films and complain about the radio and take pictures of you when you're sleeping and get up to fetch you coffee and bagels and Danish and go to Florent and drink coffee at midnight and have you steal my cigarettes and never be able to find a match and tell you about the tv programme I saw the night before and take you to the eye hospital and not laugh at your jokes and want you in the morning but let you sleep for a while and kiss your back and stroke your skin and tell you how much I love your hair your eyes your lips your neck your breasts your arse your and sit on the steps smoking till your neighbour comes home and sit on the steps smoking till you come home and worry when you're late and be amazed when you're early and give you sunflowers and go to your party and dance till I'm black and be sorry when I'm wrong and happy when you forgive me and look at your photos and wish I'd known you forever and hear your voice in my ear and feel your skin on my skin and get scared when you're angry and your eye has gone red and the other eye blue and your hair to the left and your face oriental and tell you you're gorgeous and hug you when you're anxious and hold you when you hurt and want you when I smell you and offend you when I touch you and whimper when I'm next to you and whimper when I'm not and dribble on your breast and smother you in the night and get cold when you take the blanket and hot when you don't and melt when you smile and dissolve when you laugh and not understand why you think I'm rejecting you when I'm not rejecting you and wonder how you could think I'd ever reject you and wonder who you are but accept you anyway and tell you about the tree angel enchanted forest boy who flew across the ocean because he loved you and write poems for you and wonder why you don't believe me and have a feeling so deep I can't find words for it and want to buy you a kitten I'd get jealous of because it would get more attention than me and keep you in bed when you have to go and cry like a baby when you finally do and get rid of the roaches and buy you presents you don't want and take them away again and ask you to marry me and you say no again but keep on asking because though you think I don't mean it I do always have from the first time I asked you and wander the city thinking it's empty without you and want what you want and think I'm losing myself but know I'm safe with you and tell you the worst of me and try to give you the best of me because you don't deserve any less and answer your questions when I'd rather not and tell you the truth when I really don't want to and try to be honest because I know you prefer it and think it's all over but hang on in for just ten more minutes before you throw me out of your life and forget who I am and try to get closer to you because it's beautiful learning to know you and well worth the effort and speak German to you badly and Hebrew to you worse and make love with you at three in the morning and somehow somehow somehow communicate some of the overwhelming undying overpowering unconditional all-encompassing heart-enriching mind-expanding on-going never-ending love I have for you.
Sarah Kane (Crave)
People are made of stories. Our memories are not the impartial accumulation of every second we’ve lived; they’re the narrative that we assembled out of selected moments. Which is why, even when we’ve experienced the same events as other individuals, we never constructed identical narratives: the criteria used for selecting moments were different for each of us, and a reflection of our personalities. Each of us noticed the details that caught our attention and remembered what was important to us, and the narratives we built shaped our personalities in turn. But, I wondered, if everyone remembered everything, would our differences get shaved away? What would happen to our sense of self? It seemed to me that a perfect memory couldn’t be a narrative any more than unedited security-cam footage could be a feature film. ·
Ted Chiang (The Truth of Fact, The Truth of Feeling (Exhalation))
Now whenever I watched a Star Wars film, I found myself wondering how the Empire had the technology to make long-distance holographic phone calls between planets light-years apart, and yet no one had figured out how to make a remote-controlled TIE Fighter or X-Wing yet.
Ernest Cline (Armada)
Mr. Beeblebrox, sir,' said the insect in awed wonder, 'you’re so weird you should be in movies.; 'Yeah,' said Zaphod patting the thing on a glittering pink wing, 'and you, baby, should be in real life.' The insect paused for a moment
Douglas Adams (The Restaurant at the End of the Universe (The Hitchhiker's Guide to the Galaxy, #2))
I think most of our gestures, and even our words, are automatic. If your hand is on your knee, you didn't put it there. Montaigne wrote a wonderful chapter on this, about our hands that go where we don't tell them to go. Our hands are autonomous. Our gestures, our limbs, are practically autonomous. They're not under our command. That's cinema. What cinema is not is thinking out a gesture, thinking out words. We don't think of what we're going to say. The words come even as we think, and perhaps even make us think. In this regard, theater is unrealistic and unnatural. What I attempt with my films is to touch what's real. Perhaps I'm obsessed with reality.
Robert Bresson
The film was heavy on oral sex. Each time there came a scene with fellatio or cunnilingus or sixty-nine, the whole theater resounded with lapping and sucking noises. Hearing all these sounds, I couldn't help but wonder what a curious planet I lived on.
Haruki Murakami (Norwegian Wood)
In my letters to her, I would describe only things that were touching or pleasant or beautiful: the fragrance of grasses, the caress of a spring breeze, the light of the moon, a film I'd seen, a song I liked, a book that had moved me. I myself would be comforted by letters like this when I would reread what I had written. And I would feel that the world I lived in was a wonderful one.
Haruki Murakami (Norwegian Wood)
Hollywood’s motives in marketing sex may have been cynical—Hollywood’s motives always are. But in providing audiences with sophisticated fare, it was also responding to real cultural changes that had happened within American society. Hollywood was a few years behind the trend, of course, but that’s nothing new. Don’t forget, this is the same industry that for seventy years has made wonderful, passionate, stirring anti-war movies six or seven years after every war, never during one.
Mick LaSalle (Complicated Women: Sex and Power in Pre-Code Hollywood)