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| The Paper Chase (1973) |
"I will drink of it in order to live; I will not rely on myself and be lost... Weak as I am, I shall draw near, for it is not the healthy who need the physicians, but the sick." (St. Augustine)
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| Grease 2 (1982) |
"'I consecrate myself entirely to You; invade me, take me, possess me wholly. Be the penetrating light which illumines my intellect, the gentle motion which attracts and directs my will, the supernatural energy which gives energy to my body. Complete in me Your work of sanctification and love. Make me pure, transparent, simple, true, free, peaceful, gentle, calm, serene even in suffering, and burning with charity toward God and my neighbor.'" (Sr. Carmela of the Holy Spirit, O.C.D.)
"When the contemplative life--considered as an assiduous seeking after union with God--is really fervent, it cannot fail to rekindle in the soul the burning fire of the apostolate. One who has experience, in an intimate contact with God, the ineffable reality of His love for men, cannot fail to burn with the desire to win all to that love."
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| Candyman 2: Farewell to the Flesh (1995) |
"It is true, O Mary, that on the day of my baptism the Holy Spirit diffused His charity in me; but my self-love has halted its growth, and I who have so little love for my God, have likewise very little love for my neighbor. O most loving Mother, see how I need to have my heart dilated with charity! Stir up, then, and nourish that virtue in me and grant that, having given myself to the service of God, I may give myself to that of my neighbor, with kindness and humility, promptness and generosity."
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| Paper Moon (1973) |
"What had taken place in her above all was that a long resentment had ripened. She hated the effacement to which English usage reduced the widowed mother; she had discoursed of it passionately to Fleda; contrasted it with the beautiful homage paid by other countries to women in that position, women no better than herself, whom she had seen acclaimed and enthroned, whom she had known and envied; made in short as little as possible a secret of the injury, the bitterness she found in it. The great wrong Owen had done her was not his 'taking up' with Mona--that was disgusting, but it was a detail, an accidental form; it was his failure from the first to understand what it was to have a mother at all, to appreciate the beauty and sanctity of the character. She was just his mother as his nose was just his nose, and he had never had the least imagination or tenderness or gallantry about her."
"With such a mother to give him the pitch how could he take it so low?"
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| Age of Summerhood (2013) |
"Being with her was like being backstage during an amateurish, ridiculous play. From in front, the stupid lines and grotesque situations would have made him squirm with annoyance, but because he saw the perspiring stagehands and the wires that held up the tawdry summerhouse with its tangle of paper flowers, he accepted everything and was anxious for it to succeed."
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| School Ties (1992) |
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| Catherine Breillat's room |
"'If there were more there would be too many to convey the impression in which half the beauty resides -- the impression somehow of something deemed and missed, something reduced, relinquished, resigned: the poetry, as it were, of something sensibly gone.' Fleda ingeniously and triumphantly worked it out."
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| The Paper Chase (1973) "This is the unbroken chain. This is the ageless passing of wisdom... 'It's hard being the living extension of tradition.'" |
"Am I just some kind of a gauzy fruitcake? Am I just some kind of gullible freak who allows the core of his own being to be blown to the four winds?"
"I was dazzled, delighted. We spent a whole evening there, Maria sitting at our table and smoking, and it was all the Bohemian evenings I had ever read about."
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| American Gigolo (1980) |
"An interpretation of this is shown in our illustration of the Katsura Gardens in Japan (1636). The deepest layer is understood as the coarsest and the 'roughest' zone, while the levels as they rise become increasingly geometric and delicate. The topmost plane consists of a footpath made of square-cut paving stones. Pale in color and casually combined, they seem to 'float' over the dark background. The next level is created by a gutter of natural cobblestones imbedded in the lowest level, which is the soil itself. These graduated depths must, at the same time, be seen as a part of a greater whole. One is really not completely at the bottom until one reaches the water level to which the path leads, nor quite at the top before one enters the house with its geometric carpet pattern. This conception of the floor's span from top to bottom, from water and ground at the lowest level to the ordered geometry of the house at the highest level, is at the same time an interpretation of the difference between outside and inside. The outside bears the stamp of primeval nature, the inside is the seat of humanity and greatest perfection, a place 'in which the spirit alone prevails'."
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| One From the Heart (1982) |
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| The Paper Chase (1973) |
"Contemplation is the discipline of piercing through the ego's self-centeredness and impatience. It may include enduring the boredom--sometimes for years--of waiting for God to show up."
"The secret vice! A whole new universe! Buttonholes! The manufacturers can't make ready-made suits with permanent buttonholes on the sleeves. The principle of ready-made clothes is that each suit on the rack can be made to fit about four different shapes of men. They makes the sleeves long and then the store has a tailor, an unintelligible little man who does alterations, chop them off to fit men with shorter arms and move the buttons up.
And suddenly Ross found that as soon as you noticed this much, you started noticing the rest of it. Yes! the scyes, for example. The scyes! Imagine somebody like Ross knowing all the esoteric terminology. Ross is a good old boy, for god sake. The scyes! The scyes are the armholes in a coat. In ready-made clothes, they make the armholes about the size of the Holland Tunnel. Anybody can get in these coats. Jim Bradford, the former heavyweight weight-lifting champion, who has arms the size of a Chapman Valve fire hydrant, can put on the same coat as some poor bastard who is mooning away the afternoon at IBM shuffling memos and dreaming of going home and having a drink and playing with the baby..."
"He had little of small change of conversation and rarely rose to reach down one of those ready-made forms and phrases that drape, whether fresh or frayed, the hooks and pegs of the general wardrobe of talk--that repository in which alone so many persons qualify for the discipline of society, as supernumerary actors prepare, amid a like provision, for the ordeal of the footlights."
"Well, it's just the sort of kindness," she smiled, "the kindness that costs nothing, the kindness you show to a child. It's as if you rather looked down on him. It's as if you don't respect him."
"Respect him? Why, respect's a big feeling. But I guess I do."
"You guess? If you're not sure, it's no respect."The American, Henry James
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| The Escape Artist (1982) |
"You're the first man about whom I've ever found myself saying, 'Oh, if I were he--!' It's singular, but so it is. I've known many men who, besides any factitious advantages that I may possess, had money and brains into the bargain, yet they've never disturbed my inward peace. You've got something it worries me to have missed. It's not money, it's not even brains--though evidently yours have been excellent for your purpose. It's not your superfluous stature, though I should have rather liked to be a couple inches taller. It's a sort of air you have of being imperturbably, being irremovably and indestructibly (that's the thing!) at home in the world. ... My place in life had been made for me and it seemed easy to occupy. But you who, as I understand it, have made your own place, you who, as you told us the other day, have made and sold articles of vulgar household use--you strike me, in a fashion of your own, as a man who stands about at his ease and looks straight over ever so many high walls. I seem to see you move everywhere like a big stockholder on his favorite railroad...."
"He performed the movement frequent with him and which was always a symbol of his taking mental possession of a scene -- he extended his long legs."
