Melanie Movie Quotes

The New York of the plays, the movies, the books; the New York of The New Yorker and Vanity Fair and Vogue. It was a beacon, a spire, a beacon on top of a spire. A light, always glowing from afar, visible even from the cornfields of Iowa, the foothills of the Dakotas, the deserts of California. The swamps of Louisiana. Beckoning, always beckoning. Summoning the discontented, seducing the dreamers. Those whose blood ran too hot, and too quickly, causing them to look about at their placid families, their staid neighbors, the graves of their slumbering ancestors and say— I’m different. I’m special. I’m more. They all came to New York.

I think of you, Melanie. I see your face in every woman. I flew here just to see you. Communication. Relationships. Those aren’t things I’m good at. There are other attributes I have that are far better. Like I see I’m good at making you pant. I see your pupils are dilated, you keep looking at my mouth instead of your favorite movie, and it’s taking all of my self-control not to give us exactly what it is we both need right now. It’s been a week, but as far as I’m concerned”—he cups the back of my head and nibbles on my lower lip—“I’ve been waiting a lifetime to sink myself in you.

Melanie Griffith looks bulimic in this movie,” Reva said now, pointing lazily at the screen. “See her swollen jowls? Her face looks fat, but her legs are super skinny. Or maybe she’s just fat with skinny legs. Her arms look soft, don’t they? I could be wrong. I don’t know. I’m kind of out of it. I’m fasting,” she said again. “That’s not puking, it’s boozing, Reva,” I told her, slurping drool from the corner of my mouth. “Not every skinny person has an eating disorder.” It was the most I’d said in weeks to anyone.

When I watch a movie or read a book, be it a melodrama or horror, I always hate the female character... Well, most of the time I do. Why? Because she is always dumb. I shit you not. For example in this one chick-flick movie, "Serendipity", Sara tells that Jonathan guy that she won't give him her number because if they are meant to meet again, they will. Seriously? Romantic movie my ass, there's not anything romantic in letting go of someone when you can grab them with both of your hands. That is not romantic, THAT is stupid. In another movie the girl storms out, never hearing the guy out, just like in that one book I've been reading recently, "Tangled". Now this is an issue with most of the books and chick-flicks. Like why? Why won't you stop a minute, take a deep breath, count to ten and listen to the guy. Only after that, for God's sake, say ‘fuck you’ then ‘Namaste’ and then walk away while swaying your hips like there is no tomorrow? Let them know what they will be missing for the rest of their lives. In some other movies I hate the main female character because of the scriptwriters. The girl somehow always appears in front of the guy out of nowhere. Like he can be walking down the street and then boom! ABRACADABRA! The main girl bumps into him in NYC out of all places. They make it seem like whatever they do their steps always bring them back to each other. Dumb, I know.

You’re a brat,” he said affectionately, smiling as he leaned down and kissed her forehead. It was such a small gesture, one she thought a lot of people might even take for granted. But not Lily. She had never had someone kiss her on the forehead lovingly. She’d seen it in movies. She’d even witnessed it in real life. But never once had she experienced it. It was amazing.

Shared memories; triumphs and tragedies; the heroine doing right in the end despite temptation—all the plots of all the movies I’ve written tangled together into one gigantic ball of yarn I couldn’t begin to unravel.

Tonight, all I want to do is dream of that movie. Is that bad? That I’d rather dream of a movie than of a man? Even my own husband?

Cook yourself some bacon or something.” “Pfft. Rather have the beer.” “Not while I’m standing here,” I said. “You’re underage.” She puffed air up against her fallen bangs, making them flutter. “Aren’t you, like, a thief or something?” “Or something, sometimes.” “But you won’t let me have a beer,” she said. “Nope. A man’s got to have standards.” Melanie pulled a sealed package of turkey bacon out of the fridge and reached for a frying pan. “Ooh,” she said sarcastically, “the code of the criminal underworld, just like in the movies. Like you won’t shoot women or kids, right?” I shrugged. “I try not to shoot anybody if I can help it. If I’m put in a position where I have to, though, their gender or their age doesn’t have a whole lot to do with it.” “And let me guess, you never steal from your boss?” “Depends.” “Depends?” she said. “On how much of an asshole he is.” “That happen a lot?” “Working for assholes?” I said. “You have no idea.” She laughed.

I don’t know. I mean, if it were up to me, I’d say yes. I’ve read enough books and seen enough movies to be able to spot the ending a mile away: he’s the one. But this is real life, and there are so many factors to consider.

The perfect man. Excellent taste in clothes and music, no corporate types, a dimple, a respectable-looking outside wrapper with a bad boy streak. Must love puppies, travel, rain, and eighties movies. Must hate golf. He’s got to be an excellent cook, a big reader, know all my favorite podcasts, and make me laugh. Frat bros are a no.

The diner waitress gets the movie star. I love this story.

Because the Ritz had seduced her from her very first step inside. As it seduces everyone. It whispers your name in a satin cares, it shows you unimaginable treasures - the tapestries on the walls should be in an art museum - it seduces you into thinking, even if you haven't a sou in your pocket, that simply by rubbing elbows with the barons and duchesses and movie stars and heiresses who glide through the halls on the wings of fortune, you, too, are something special.

And they were never only movies to me—they were my life. And so I haven’t any other, I never have. But you—you had a life!

Fran, you’re the only one who can write my next movie. It’s a wonderful story—I want to remake that Norma Talmadge film, Secrets. Remember? You wrote it for Norma back then—back in ’twenty-four, wasn’t it? I think it’s perfect for me now, don’t you? This is very important—my career, you know, it’s—it’s rocky. And then, Douglas—won’t you do this for me?