Jim Carrey Movie Quotes

The American citizen is so lost he doesn't realize he's a factory pig. Drugged and poisoned from the cradle to the grave. Chained to impossible debts. Never ever free. Liberty? Bah! This is a land of invisible fences, we're all prisoners watching Capra on movie night. But nothing lasts forever. Europe's monarchies sent their sons to die in the trenches of the Somme just as surely as we drove Chiang Kei-shek into the sea. You think America will be different? You think this era, one not of consumption but of gluttony, will last forever? It will not...

Most people associate the word abracadabra with magicians pulling rabbits out of hats. It’s actually an Aramaic term that translates into English as, “I will create as I speak.” It’s a powerful concept. It’s why Edison often announced the invention of a device before he’d actually invented it. It’s why Jim Carrey wrote himself a check for $10 million long before he ever made a movie. This principle simply says, “Whatever you focus on expands,” and in the experiment you’ll learn that there’s no such thing as an idle thought and that all of us are way too cavalier and tolerant of our minds’ wandering.

The Abracadabra Principle. Most people associate the word abracadabra with magicians pulling rabbits out of hats. It’s actually an Aramaic term that translates into English as, “I will create as I speak.” It’s a powerful concept. It’s why Edison often announced the invention of a device before he’d actually invented it. It’s why Jim Carrey wrote himself a check for $10 million long before he ever made a movie. This principle simply says, “Whatever you focus on expands,” and in the experiment you’ll learn that there’s no such thing as an idle thought and that all of us are way too cavalier and tolerant of our minds’ wandering.

A young man dreamed of being an actor, but in the early 1980s, he wasn’t getting the big parts he wanted. Broke and discouraged, he drove his beat-up old car to the top of a hill overlooking the city of Los Angeles and did something unusual. He wrote himself a check for ten million dollars for “Acting services rendered.” This young man had grown up so poor his family lived in a Volkswagen van at one time. He put that check in his wallet and kept it there. When things got tough, he’d pull it out and look at it to remind himself of his dream. A dozen years later, that same young man, the comedian Jim Carrey, was making fifteen million to twenty-five million a movie. Studies tell us that we move toward what we consistently see. You should keep something in front of you, even if it’s symbolic, to remind you of what you are believing for.

In the movie Dumb and Dumber, Jim Carrey’s character, Lloyd, asks the love of his life what his chances are of making her love him, too. “Not good,” replies Mary Swanson. “Not good like one out of a hundred?” asks Lloyd haltingly. Mary answers, “I’d say more like one out of a million.” Exclaims Lloyd: “So you’re telling me there’s a chance? Yeah!” It’s no different when you buy a stock or a mutual fund: Your expectation of scoring a big gain will typically elbow aside your ability to evaluate how likely you are to earn it. That means your brain will tend to get you into trouble whenever you’re confronted with an opportunity to buy an investment with a hot—but probably unsustainable—return.

But I was stuck for a long time by myself at Abraham Lincoln's portrait, standing in the middle of the huge hall as people moved all around me with mostly children. I felt as if time had stopped as I watched Lincoln, facing him, while watching the woman’s back as she was looking out the window. I felt wronged, so much like Truman from the movie, standing there in the middle of the museum alone. I was wondering what would Abraham Lincoln do if he realized he was the slave in his own cotton fields, being robbed by evil thieves, nazis. I had taken numerous photos of Martina from behind, as well as silhouettes of her shadow. I remember standing there, watching as she stood in front of the window; it was almost as if she was admiring the view of the mountains from our new home, as I did take such pictures of her, with a very similar composition to that of the female depicted in the iconic Lincoln portrait looking outwards from the window. I hadn't realized how many photographs I snapped of Martina with her back turned towards me while we travelled to picturesque places. Fernanda and I walked side-by-side in utter silence, admiring painting after painting of Dali's, without exchanging a single word. Meanwhile, Luis and Martina had got lost somewhere in the museum. When I finally found her, she was taking pictures outside of the Rainy Cadillac. We both felt something was amiss without having to say it, as Fernanda knew things I didn't and vice versa. We couldn't bring ourselves to discuss it though, not because we lacked any legal authority between me and Martina, but because neither Fernanda or myself had much parental authority over the young lady. It felt like when our marriages and divorces had dissolved, it was almost as if our parenting didn't matter anymore. It was as if I were unwittingly part of a secret screenplay, like Jim Carrey's character in The Truman Show, living in a fabricated reality made solely for him. I was beginning to feel a strange nauseous feeling, as if someone was trying to force something surreal down my throat, as if I were living something not of this world, making me want to vomit onto the painted canvas of the personalised image crafted just for me. I couldn't help but wonder if Fernanda felt the same way, if she was aware of the magnitude of what was happening, or if, just like me, she was completely oblivious, occasionally getting flashes of truth or reality for a moment or two. I took some amazing photographs of her in Port Lligat in Dali's yard in the port, and in Cap Creus, but I'd rather not even try to describe them—they were almost like Dali's paintings which make all sense now. As if all the pieces are coming together. She was walking by the water and I was walking a bit further up on the same beach on pebbles, parallel to each other as we walked away from Dali's house in the port. I looked towards her and there were two boats flipped over on the two sides of my view. I told her: “Run, Bunny! Run!

The rat wasn’t all that funny, but John was five snorts into his personal stash of crushed crystal and he might as well have been in a Jim Carrey movie.

You’ll notice a theme in this story, which is that I probably sound like Jim Carrey in that movie where he says yes to absolutely everything.

Eliza flips open Weird Tales March 1999, Hey I just had a fun lil spark of inspiration. I know you're busy this summer but I was wondering if maybe at the end of summer you would be interested in doing an afterward for my new book Satanic Panic & the Very Special Episodes. The book is a materialist counterfeit reality. The book was inspired by my 400th viewing of one of my all time favorite movie The Truman Show and I was thinking about the psychological implications of that flick, about how even after Jim Carrey's escape from the dome would he ever truly be able to trust his surroundings. I don't think so. I'm also reading some classic madness-caused-by-society texts like Anti-Oedipus and Foucault's Madness and Civilization. And I'm also reading about all of the classic kinds of schizo delusional thinking like delusions of reference, fregoli syndrome (in my opinion the scariest of all delusions), stuff like that. The book is a meta tavern confession. These two guys are sitting in a super shabby tavern and they've both basically forgotten how they got into this shabby tavern and they both kind of convince themselves and each other that they're on a set that's meant to look like a shabby tavern. The shabby construction they believe exists to give them a hint that they exist in a counterfeit reality. There are some fun neoplasms in the book like omniscinditus. One of the characters invents that word and says the word means "special secret purpose or message hidden inside common objects and concepts." The two characters basically convince themselves that everything has omniscinditus. And as I've been writing this book my mind has wandered back to mediation technology because my mind always wanders back to mediation technology. For the afterword I was wondering if I could give you a prompt for an essay that I want to be both a thing that informs Satanic Panic and the afterword. I need an expert. My prompt is, if you are down (and if you are not down I totally understand and will not be offended), about mediation technology in the hands of hypercapitalists and the algorithm as a delusion machine. I don't know what the prompt question(s) would be here. It's not necessarily a question about truth or falsity. Or maybe it's not quite a question of is this a possibility? Maybe the question(s) are about a composite of the old world and our new mediation tech as a behaviorism machine that tricks us into loving the machine. And maybe the question has something to do with the Descartes demon and tech and the old saying about how everyone throughout history has thought-demons lived in tech, but what if mediated tech became so advanced a "demon" could be invented. My thoughts always return to "well if a corporation or government or intelligence agency (some overflowing with incompetence and other silliness) can send people to a south american country or a middle eastern country or elsewhere and those people can, part of the time, successfully rally citizens and do a coup, why couldn't a technology successfully psychologically manipulate on a mass level as well? Is that what we are saying? That peepers in foreign lands can be easily tricked into coups and stuff like that? Are we talking about mind control and the Air Loom? If so, why is it when we speak of mass mind control happening in the US, scoffs happen? And why wouldn't money-powers go out of their way to create a delusion machine? Is having your masses ebb and flow between slight delusion to full to peace and tranquility and back to delusion beneficial to the money-powers and capitalism? I feel like the arrival of anxiety meeting the hope of tranquility and having that move back and forth over and over must be beneficial. And even if a psychological manipulation technology that advanced is far off, does that mean that powers-that-be are not working on making that a reality? In the book, I'm attempting to frame all of this in a materialist way without any mediation technology…

In the 1994 movie The Mask, Jim Carrey plays a banker called Stanley Ipkiss. He finds a wooden mask that was created by Loki, the Norse god of mischief.