Uprising Movie Quotes

As artists and professionals it is our obligation to enact our own internal revolution, a private insurrection inside our own skulls. In this uprising we free ourselves from the tyranny of consumer culture. We overthrow the programming of advertising, movies, video games, magazines, TV, and MTV by which we have been hypnotized from the cradle. We unplug ourselves from the grid by recognizing that we will never cure our restlessness by contributing our disposable income to the bottom line of Bullshit, Inc., but only by doing our work.

As time passed there was no more buying food, no money, no supplies. On some days, we wouldn’t even have a crumb to eat. There’s a vivid scene in Nanni Loy’s The Four Days of Naples, a movie made after the war about the uprising of the Neapolitans against the occupying Germans, in which one of the young characters sinks his teeth into a loaf of bread so voraciously, so desperately, I can still identify with him. In those four famous days in late September, when Naples rose up against the Germans—even before the Allies arrived, it was the climax of a terrible period of deprivation and marked the beginning of the end of the war in Italy.

In this uprising we free ourselves from the tyranny of consumer culture. We overthrow the programming of advertising, movies, video games, magazines, TV, and MTV by which we have been hypnotized from the cradle. We unplug ourselves from the grid by recognizing that we will never cure our restlessness by contributing our disposable income to the bottom line of Bullshit, Inc., but only by doing our work.

Sarah,’ Hugo smirked, ‘we’re only making movies here, not inciting a Marxist uprising. I mean, there’s only room in history for one film-maker like Tarkovsky, right?

What convinced Kilburn that Craig’s prospects in life were dim was his discovery that Craig had been sending away for autographed pictures of movie stars, had managed to collect several dozen, and—scandalously, again—had been sharing them with the other boys. Kilburn promptly confiscated the collection and thereafter opened all of Craig’s incoming mail to make sure it contained no offending material. To underscore the horrendous nature of Craig’s crime, Kilburn meted out his favorite punishment: Craig was given “one hundred burdock”—that is, assigned to dig up a hundred of the burdock plants that dotted the grounds; the burdock had long, deep roots, and to kill it one had to laboriously dig out every last piece.

The jukebox on the dance floor played a variety of songs, even an occasional “Smoke Gets in Your Eyes” to appease the romantics. The Motown label was still top of the heap in the summer of 1969; three of the five hit singles for the week of June 28—by Marvin Gaye, Junior Walker, and the Temptations—carried its imprint. On the pop side, the Stonewall jukebox played the love theme from the movie version of Romeo and Juliet over and over, the record’s saccharine periodically cut by the Beatles’ “Get Back” or Elvis Presley’s “In the Ghetto.” And all the new dances—the Boston Jerk, the Monkey, the Spider—were tried out with relish. If the crowd was in a particularly campy mood (and the management was feeling loose enough), ten or fifteen dancers would line up to learn the latest ritual steps, beginning with a shouted “Hit it, girls!”28