Leonardo Dicaprio Movie Quotes

But when I was seven or eight years old, the film that changed my life was Titanic. It amazed me that it was a story that took place a hundred years ago. Those people living in 1912 had better technology than most North Koreans! But mostly I couldn’t believe how someone could make a movie out of such a shameful love story. In North Korea, the filmmakers would have been executed. No real human stories were allowed, nothing but propaganda about the Leader. But in Titanic, the characters talked about love and humanity. I was amazed that Leonardo DiCaprio and Kate Winslet were willing to die for love, not just for the regime, as we were. The idea that people could choose their own destinies fascinated me. This pirated Hollywood movie gave me my first small taste of freedom.

But DNA isn’t really like that. It’s more like a script. Think of Romeo and Juliet, for example. In 1936 George Cukor directed Leslie Howard and Norma Shearer in a film version. Sixty years later Baz Luhrmann directed Leonardo DiCaprio and Claire Danes in another movie version of this play. Both productions used Shakespeare’s script, yet the two movies are entirely different. Identical starting points, different outcomes.

Peter and Jessie were like Romeo and Juliet. Have you ever seen that old movie? Starring Leonardo Dicaprio?

I loved Cinderella, Snow White, and James Bond movies. But when I was seven or eight years old, the film that changed my life was Titanic. It amazed me that it was a story that took place a hundred years ago. Those people living in 1912 had better technology than most North Koreans! But mostly I couldn’t believe how someone could make a movie out of such a shameful love story. In North Korea, the filmmakers would have been executed. No real human stories were allowed, nothing but propaganda about the Leader. But in Titanic, the characters talked about love and humanity. I was amazed that Leonardo DiCaprio and Kate Winslet were willing to die for love, not just for the regime, as we were. The idea that people could choose their own destinies fascinated me. This pirated Hollywood movie gave me my first small taste of freedom.

Jack Hogenbaum, a.k.a. "Leo D. Nardo, Your Titanic Lover," was the star of Ladies' Nights at the club. He'd been packing them in since the movie. He looked like Leonardo DiCaprio. Well, sort of. At least his brown hair hung down over his forehead on the left side, he had soulful eyes, and when he danced, he could do stuff with a life preserver you never dreamed.

When I stepped into the trailer, I froze. The head of wardrobe was a guy—a very good-looking guy with ash blond hair, hazel eyes, and a body on him that would make my trainer proud. There was no way I was going to let this guy see any of my flaws. Of course, maybe I wouldn’t be dealing with him. Over the last two weeks, all of my wardrobe fittings had been with a woman. “Where’s Jackie?” I asked, hoping she was still assigned to me. “Oh, honey, that girl quit to go work on a Leonardo DiCaprio movie.” He threw his hip out as he flipped his hand in the air. “But can you blame her? Leo is way too hot to turn down. I’m Steve,” he said, putting his hand over his chest. “And I promise I’ll take much better care of you than Jackie.

THE ACCURSED SHIP didn’t sink for a full three hours. By the time it did, I was feeling so traumatized that even watching Dogface die offered little consolation. The dialogue, the acting, the vast emptiness of the whole endeavor! Was that what passed for cinema these days? I felt like I had been violated; violated by a team of accountants. Laura, prostrated by grief, lay weeping on my lap. Frank stared stolidly at the credits, over which, as a coup de grâce, a cat or cats were being strangled to the effect that “My Heart Will Go On,” which at this moment in time was not a sentiment I could endorse.

from their peak in 2006, and the decline is explained entirely by the evaporation of interesting, intelligent mid-budget films. Studios realized their assumption that they had to make every type of movie for everyone was no longer true. So they focused on the types of movies that delivered the biggest and most consistent profits to their publicly traded parent corporations. Increasingly, that meant movies that appealed to audiences in Russia, Brazil, and China. These consumers weren’t likely to understand the cultural subtleties of an American drama or to consider people talking or even running for their lives to be adequate bang for their buck on an expensive night out. They expected spectacle, particularly if they were paying premiums for an IMAX or 3D screen, and they wanted stories that made sense to a villager in China, a resident of Rio de Janeiro, or a teenager in Kansas City. Transformers, in other words. And The Avengers. And Jurassic World and Fast and Furious and Star Wars. With the exception of 1997’s Titanic, which made a spectacle out of the sinking of a cruise ship and Leonardo DiCaprio’s eyes, the forty-eight highest-grossing Hollywood films overseas are all visual-effects-heavy action-adventure films or family animation.

His eyes burned into mine. It reminded me of the way he had looked at me at Genie’s Bar when we danced, right before he kissed me. Something intangible existed between us, I was sure of it. His gaze reminded me of how Leonardo DiCaprio’s looked at Claire Danes in Romeo + Juliet—hot and full of longing. Sure, after that first hot gaze in the beginning of the movie the whole thing turned to crap and they died at the end. But that first look was everything.