Indiana Jones Movie Quotes

Henry Jones: I didn't know you could fly a plane! Indiana Jones: Fly -- yes, land -- no.

I made that up. You know Marcus. He got lost once in his own museum.

Does anyone here speak English? Or even Ancient Greek? — A very lost Marcus Brody

I get mad when people call me an action movie star. Indiana Jones is an adventure film, a comic book, a fantasy.

I always find that if I sit down, a solution presents itself!

Now is the time to ask yourself, what you believe.

Archaeologist, adventurer — I saw the Indiana Jones movies. They are the same.

Well, you have adventures. All start out with troubles, but then you admit your problems and become a better person by working really hard, which is what fertilizes the happy ending and allows it to bloom—just like the end of all the Rocky films, Rudy, The Karate Kid, the Star Wars and Indiana Jones trilogies, and The Goonies, which are my favorite films, even though I have sworn off movies until Nikki returns, because now my own life is the movie I will watch, and well, it’s always on.

Lilly asked me if i had to choose between Harrison Ford or George Clooney who would it be, and I said Harrison Ford even though he's so old, but the Harrison Ford from Indiana Jones, not Star Wars, and then Lilly said she'd choose Harrison Ford as Jack Ryan in those Tom Clancy movies, and then Michael goes, Who would you choose, Harrison Ford or Leonardo di Caprio? and we both chose Harrison Ford because Leonardo is so passe,

A film festival, during which all three Star Wars prequels and the fourth Indiana Jones movie were all screened back to back, in the name of getting it over with.

The wizards from the mid-1990s or later refused to discuss any movies at all for fear of letting slip any details of the Star Wars prequels or the fourth Indiana Jones, a group of works that the later wizards would only refer to by the collective title The Unpleasantness.

Tate practically raised you from what I hear. You love him, don’t you?” Her face closed up. “For all the good it will ever do me, yes,” she said softly. “He won’t have the excuse of pure Lakota blood much longer,” he advised. “I’m not holding out for miracles anymore,” she vowed. “I’m going to stop wanting what I can never have. From now on, I’ll take what I can get from life and be satisfied with it. Tate will have to find his own way.” “That’s sour grapes,” he observed. “You bet it is. What do you want me to do to help?” “It’s dangerous,” he pointed out, hesitating as he considered her youth. “I don’t know…” “I’m a card-carrying archeologist,” she reminded him. “Haven’t you ever watched an Indiana Jones movies? We’re all like that,” she told him with a wicked grin. “Mild-mannered on the outside and veritable world-tamers inside. I can get a whip and a fedora, too, if you like,” she added.

Growing up, I was a big fan of the Indiana Jones movies. I watched them again recently and found them to be misleading. Aspiring archeologists across the world probably show up to their first day of work with their weather-worn fedoras and their whips and they’re like, “Where’s the cavern of jewels?” And their boss is like, “Actually, today we’re gonna start off by dusting thousands of miles of nothing.

When one looks back across a chasm of seventy years, through a prism of pulp fiction and bad gangster movies, there is a tendency to view the events of 1933-34 as mythic, as folkloric. To the generations of Americans raised since World War II, the identities of criminals such as Charles “Pretty Boy” Floyd, Baby Face Nelson, “Ma” Barker, John Dillinger, and Clyde Barrow are no more real than are Luke Skywalker or Indiana Jones. After decades spent in the washing machine of popular culture, their stories have been bled of all reality, to an extent that few Americans today know who these people actually were, much less that they all rose to national prominence at the same time.

At one point, Tommy wanted to have Scott Holmes (who’d been cast as Mike) also play Chris-R. Scott was supposed to pull this off by wearing what Tommy described as a “disguise”—a black Indiana Jones–style hat and horn-rimmed glasses—on the assumption that the audience wouldn’t notice.

Lu·cas   George (1944- ), U.S. movie director, producer, and screenwriter. He wrote, directed, and produced the science-fiction movie Star Wars (1977) and then went on to write and produce The Empire Strikes Back (1980), Return of the Jedi (1983), and Star Wars: Episode I: The Phantom Menace (1999). He also wrote and produced the "Indiana Jones" series of movies (1981-89).

His consolation prize was a hat. A battered fedora that looked as if it had blown off of Humphrey Bogart during the filming of Key Largo. Sucked up into the atmosphere during the movie’s hurricane, it had ended up here, on the other side of the world, sixty years later. On his head. Even though it had been enshrined in a closet inside the house, it kind of smelled as if it had spent about three of those decades at the bottom of a birdcage. Yesiree. It was almost as fun to wear as the brown leather flight jacket. Which really wasn’t fair to the flight jacket. It was a gorgeously cared-for antique that didn’t smell at all. And it definitely worked for him, in terms of some of his flyboy fantasies. But the day had turned into a scorcher. It was just shy of a bazillion degrees in the shade. He needed mittens or perhaps a wool scarf to properly accessorize his impending heat stroke. “Today, playing the role of Indiana Jones, aka Grady Morant, is Jules Cassidy,” he said, as he slipped his arms into the sleeves. Was anyone really going to be fooled by this? Jones was so much taller than he was.

The most well known theory concerning the whereabouts of the Ark, made famous by the movie Raiders of the Lost Ark, places it in the ruins of the ancient city of Tanis in Egypt. This theory proposes that the Ark was plundered by the Egyptians shortly after Solomon’s death. According to the Old Testament, the pharaoh Sheshonq I of Egypt attacked Jerusalem, raided the Temple, and plundered its treasures (1 Kgs 14:26). Sheshonq I established Tanis as the new Egyptian capital, and so it is here that Indiana Jones discovers the lost Ark in Steven Spielberg’s movie.

I devoured each of what Halliday referred to as “The Holy Trilogies”: Star Wars (original and prequel trilogies, in that order), Lord of the Rings, The Matrix, Mad Max, Back to the Future, and Indiana Jones. (Halliday once said that he preferred to pretend the other Indiana Jones films, from Kingdom of the Crystal Skull onward, didn’t exist. I tended to agree.) I also absorbed the complete filmographies of each of his favorite directors. Cameron, Gilliam, Jackson, Fincher, Kubrick, Lucas, Spielberg, Del Toro, Tarantino. And, of course, Kevin Smith. I spent three months studying every John Hughes teen movie and memorizing all the key lines of dialogue.

They say that Ridley is a very visual director and he’s indifferent with actors. He’s obviously changed over the years, but I’ll never forget this one sequence. We had wind machines going full blast, we had unicorns, smoke effects, moonbeams coming down, we had all these pigeons dyed different colours, we had a bear eating honey, we had bees floating around, butterflies and sparrows, we had everything. We were in the studio from seven o’clock in the morning until two, without breaking for lunch, preparing this one shot. When Ridley had everything right he shouted, ‘Shoot, for Christ’s sake shoot!’ And old Bill Westley, the AD, turned around and said, ‘What about the max factors then guv?’ meaning the actors. And Ridley went, ‘Oh fuck. Quick, go and get them.’ And Bill rushed out and brought Tom Cruise and Mia Sara on and Ridley went, ‘Ah, OK Tom you sit over there and Mia you sit next to him and just talk among yourselves. OK. And action!

Remember that scene in the first Indiana Jones movie when someone asks Indy what he’s going to do next, and he replies, “I don’t know, I’m making it up as we go along.” That’s how I view leadership. It’s an act of controlled improvisation, a Thelonious Monk finger exercise, from one moment to the next.

In fact, the wizards from the mid-1990s or later refused to discuss any movies at all for fear of letting slip any details of the Star Wars prequels or the fourth Indiana Jones, a group of works that the later wizards would only refer to by the collective title The Unpleasantness.

his hands are gentle, and he’s talking softly to the kitten, who’s sitting meekly in his hands, looking up at him the way the schoolgirl in the Indiana Jones movie does, with I love you written on her eyelids. It makes me smile,

Perhaps the most frequent question I get about working on MST3K is, “Where did you get your movies from?”  People seem genuinely fascinated by this, as if there’s some mysterious quest involved in finding a not-very-good film, like Indiana Jones traversing a booby-trapped labyrinth to obtain an ancient, priceless idol hidden under a cum-rag in Tommy Wiseau's basement.

Indiana Jones was an imperialist grave-robbing sumbitch,” Cindy chimes in from behind Ritter. “I hate those fucking movies.

Not long afterwards I was working again with Connery on Entrapment and we were all invited to a preview screening of The Avengers. We sat there and watched it and when the lights came up Sean turned to me and asked, ‘What do you think of it?’ I thought for a moment. ‘Interesting,’ I diplomatically said. ‘It’s a heap of shite,’ said Sean. Entrapment was intended

(The banquet scene out of the movie Indiana Jones and the Temple of Doom is priceless.)

Eventually, the wizards started sharing information freely, even arranging a film festival, during which all three Star Wars prequels and the fourth Indiana Jones movie were all screened back to back, in the name of getting it over with.