Sin City Movie Quotes

We've searched our database for all the quotes and captions related to Sin City Movie. Here they are! All 8 of them:

New York city wasn't yet the post-Giuliani, Bloomberg forever, Disneyland tourist attraction of today, trade-marked and policed to protect the visitors and tourism industry. It was still a place of diversity, where people lived their lives in vibrant communities and intact cultures. Young people could still move to New York City after or instead of high school or college and invent an identity, an art, a life. Times Square was still a bustling center of excitement, with sex work, "adult" movies, a variety of sins on sale, ways to make money for those down on their luck".
B. Ruby Rich (New Queer Cinema: The Director's Cut)
It is as if James Joyce, for his sins, had been forced to grow up in Queens; as if Sam Beckett had been mugged by Godot in a Flushing comfort station; as if Sid Caesar played the part of Moby Dick in a Roman Polanski movie shot underwater in Long Island City; as if Martin Heidegger has gone into vaudeville...Mr. Mano is Tom Wolfe, and Hunter S. Thompson and Henderson the Rain King.
John D. Leonard
New York city wasn't yet the post-Giuliani, Bloomberg forever, Disneyland tourist attraction of today, trade-marked and policed to protect the visitors and tourism industry. It was still a place of diversity, where people lived their lives in vibrant communities and intact cultures. Young people could still move to New York City after or instead of high school or college and invent an identity, an art, a life. Times Square was still a bustling center of excitement, with sex work, "adult" movies, a variety of sins on sale, ways to make money for those down on their luck".
Ruby Rich
Steven’s words slush together as he gets to his feet. “Crossing this one off the bucket list.” Then he unbuckles his belt and grabs the waist of his pants—yanking the suckers down to his ankles—tighty whities and all. Every guy in the car holds up his hands to try to block the spectacle. We groan and complain. “My eyes! They burn!” “Put the boa constrictor back in his cage, man.” “This is not the ass I planned on seeing tonight.” Our protests fall on deaf ears. Steven is a man on a mission. Wordlessly, he squats and shoves his lilywhite ass out the window—mooning the gaggle of grannies in the car next to us. I bet you thought this kind of stuff only happened in movies. He grins while his ass blows in the wind for a good ninety seconds, ensuring optimal viewage. Then he pulls his slacks up, turns around, and leans out the window, laughing. “Enjoying the full moon, ladies?” Wow. Steven usually isn’t the type to visually assault the elderly. Without warning, his crazy cackling is cut off. He’s silent for a beat, then I hear him choke out a single strangled word. “Grandma?” Then he’s diving back into the limo, his face grayish, dazed, and totally sober. He stares at the floor. “No way that just happened.” Matthew and I look at each other hopefully, then we scramble to the window. Sure enough, in the driver’s seat of that big old Town Car is none other than Loretta P. Reinhart. Mom to George; Grandma to Steven. What are the fucking odds, huh? Loretta was always a cranky old bitch. No sense of humor. Even when I was a kid she hated me. Thought I was a bad influence on her precious grandchild. Don’t know where she got that idea from. She moved out to Arizona years ago. Like a lot of women her age, she still enjoys a good tug on the slot machine—hence her frequent trips to Sin City. Apparently this is one such trip. Matthew and I wave and smile and in fourth-grader-like, singsong harmony call out, “Hi, Mrs. Reinhart.” She shakes one wrinkled fist in our direction. Then her poofy-haired companion in the backseat flips us the bird. I’m pretty sure it’s the funniest goddamn thing I’ve ever seen. The two of us collapse back into our seats, laughing hysterically.
Emma Chase (Tied (Tangled, #4))
Guilt and self-image. When someone says, “I can’t forgive myself,” it indicates that some standard or condition or person is more central to this person’s identity than the grace of God. God is the only God who forgives — no other “god” will. If you cannot forgive yourself, it is because you have failed your true god — that is, whatever serves as your real righteousness — and it is holding you captive. The moralists’ false god is usually a god of their imagination, a god that is holy and demanding but not gracious. The relativist/pragmatist’s false god is usually some achievement or relationship. This is illustrated by the scene in the movie The Mission in which Rodrigo Mendoza, the former slave-trading mercenary played by Robert de Niro, converts to the church and as a way of showing penance drags his armor and weapons up steep cliffs. In the end, however, he picks up his armor and weapons to fight against the colonialists and dies at their hand. His picking up his weapons demonstrates he never truly converted from his mercenary ways, just as his penance demonstrated he didn’t get the message of forgiveness in the first place. The gospel brings rest and assurance to our consciences because Jesus shed his blood as a “ransom” for our sin (Mark 10:45). Our reconciliation with God is not a matter of keeping the law to earn our salvation, nor of berating ourselves when we fail to keep it. It is the “gift of God” (Rom 6:23). Without the gospel, our self-image is based on living up to some standards — either our own or someone else’s imposed on us. If we live up to those standards, we will be confident but not humble; if we don’t live up to them, we will be humble but not confident. Only in the gospel can we be both enormously bold and utterly sensitive and humble, for we are simul justus et peccator, both perfect and sinner!
Timothy J. Keller (Center Church: Doing Balanced, Gospel-Centered Ministry in Your City)
The Director’s Chair is with Francis Ford Coppola (The Godfather, Apocalypse Now, etc.), and Robert refers later to this quote from Francis: “Failure is not necessarily durable. Remember that the things that they fire you for when you are young are the same things that they give lifetime achievement awards for when you’re old.” ROBERT: “Even if I didn’t sell Mariachi, I would have learned so much by doing that project. That was the idea—I’m there to learn. I’m not there to win; I’m there to learn, because then I’ll win, eventually. . . . “You’ve got to be able to look at your failures and know that there’s a key to success in every failure. If you look through the ashes long enough, you’ll find something. I’ll give you one. Quentin [Tarantino] asked me, ‘Do you want to do one of these short films called Four Rooms [where each director can create the film of their choosing, but it has to be limited to a single hotel room, and include New Year’s Eve and a bellhop]?’ and my hand went up right away, instinctively. . . . “The movie bombed. In the ashes of that failure, I can find at least two keys of success. On the set when I was doing it, I had cast Antonio Banderas as the dad and had this cool little Mexican as his son. They looked really close together. Then I found the best actress I could find, this little half-Asian girl. She was amazing. I needed an Asian mom. I really wanted them to look like a family. It’s New Year’s Eve, because [it] was dictated by the script, so they’re all dressed in tuxedos. I was looking at Antonio and his Asian wife and thinking, ‘Wow, they look like this really cool, international spy couple. What if they were spies, and these two little kids, who can barely tie their shoes, didn’t know they were spies?’ I thought of that on the set of Four Rooms. There are four of those [Spy Kids movies] now and a TV series coming. “So that’s one. The other one was, after [Four Rooms] failed, I thought, ‘I still love short films.’ Anthologies never work. We shouldn’t have had four stories; it should have been three stories because that’s probably three acts, and it should just be the same director instead of different directors because we didn’t know what each person was doing. I’m going to try it again. Why on earth would I try it again, if I knew they didn’t work? Because you figured something out when you’re doing it the first time, and [the second attempt] was Sin City.” TIM: “Amazing.
Timothy Ferriss (Tools of Titans: The Tactics, Routines, and Habits of Billionaires, Icons, and World-Class Performers)
For years, films had suggested this plot development by having one woman whisper into the ear of another, but some audiences snickered at this, so studios had begun using the actual words. “There must be a sweeter phrase for motherhood in pictures,” wrote B. P. McCormick of Canon City, Colorado. “Don’t say a mother is ‘having a baby.’ Let’s get above the level of the cow having a calf. Motherhood is worthy of a sweeter expression.
Mark A. Vieira (Forbidden Hollywood: The Pre-Code Era (1930-1934): When Sin Ruled the Movies)
Even before the first Soviet tanks crossed into Afghanistan in 1979, a movement of Islamists had sprung up nationwide in opposition to the Communist state. They were, at first, city-bound intellectuals, university students and professors with limited countryside appeal. But under unrelenting Soviet brutality they began to forge alliances with rural tribal leaders and clerics. The resulting Islamist insurgents—the mujahedeen—became proxies in a Cold War battle, with the Soviet Union on one side and the United States, Pakistan, and Saudi Arabia on the other. As the Soviets propped up the Afghan government, the CIA and other intelligence agencies funneled millions of dollars in aid to the mujahedeen, along with crate after crate of weaponry. In the process, traditional hierarchies came radically undone. When the Communists killed hundreds of tribal leaders and landlords, young men of more humble backgrounds used CIA money and arms to form a new warrior elite in their place. In the West, we would call such men “warlords.” In Afghanistan they are usually labeled “commanders.” Whatever the term, they represented a phenomenon previously unknown in Afghan history. Now, each valley and district had its own mujahedeen commanders, all fighting to free the country from Soviet rule but ultimately subservient to the CIA’s guns and money. The war revolutionized the very core of rural culture. With Afghan schools destroyed, millions of boys were instead educated across the border in Pakistani madrassas, or religious seminaries, where they were fed an extreme, violence-laden version of Islam. Looking to keep the war fueled, Washington—where the prevailing ethos was to bleed the Russians until the last Afghan—financed textbooks for schoolchildren in refugee camps festooned with illustrations of Kalashnikovs, swords, and overturned tanks. One edition declared: Jihad is a kind of war that Muslims fight in the name of God to free Muslims.… If infidels invade, jihad is the obligation of every Muslim. An American text designed to teach children Farsi: Tey [is for] Tofang (rifle); Javed obtains rifles for the mujahedeen Jeem [is for] Jihad; Jihad is an obligation. My mom went to the jihad. The cult of martyrdom, the veneration of jihad, the casting of music and cinema as sinful—once heard only from the pulpits of a few zealots—now became the common vocabulary of resistance nationwide. The US-backed mujahedeen branded those supporting the Communist government, or even simply refusing to pick sides, as “infidels,” and justified the killing of civilians by labeling them apostates. They waged assassination campaigns against professors and civil servants, bombed movie theaters, and kidnapped humanitarian workers. They sabotaged basic infrastructure and even razed schools and clinics. With foreign backing, the Afghan resistance eventually proved too much for the Russians. The last Soviet troops withdrew in 1989, leaving a battered nation, a tottering government that was Communist in name only, and a countryside in the sway of the commanders. For three long years following the withdrawal, the CIA kept the weapons and money flowing to the mujahedeen, while working to block any peace deal between them and the Soviet-funded government. The CIA and Pakistan’s spy agency pushed the rebels to shell Afghan cities still under government control, including a major assault on the eastern city of Jalalabad that flattened whole neighborhoods. As long as Soviet patronage continued though, the government withstood the onslaught. With the collapse of the Soviet Union in late 1991, however, Moscow and Washington agreed to cease all aid to their respective proxies. Within months, the Afghan government crumbled. The question of who would fill the vacuum, who would build a new state, has not been fully resolved to this day.
Anand Gopal