Due Saturday, March 27.
The dialogue, description, and keywords you will be using for Project 03 (see under “Requirements” in the project sheet, linked in the column at right).
Submit these as a comment to this blog post. Do not email them to me. If you have problems posting, let me know.
——————————
Due Tuesday, March 30.
01 For your final Project Two submission, I want to see iterations on the comps you showed on 3/23, integrating suggestions made during critique, as well as any typographic inspiration you may garner from sites like these that use beautiful typography inspired by publication design:
Please post these to Flickr and bring printed copies to class for critique.
02 Storyboard sketches for your motion piece. These can just be rough sketches at first, using this template to print out and sketch on. Or, you can just use a sketchbook, manually creating the template.
Here are a couple of storyboarding tutorials and a storyboard template. Like a schematic and wireframes for websites, a storyboard is a planning tool used to create films and for this assignment, motion design. Obviously, your “actors” will be type and words, not people:
Four-Minute Film School: Storyboarding
Filed under: Uncategorized
GD 220 / Spring 2010 
DWARF: LET’S ROCK!
I’VE GOT GOOD NEWS. THAT GUM YOU LIKE IS GOING TO COME BACK IN STYLE. SHE’S MY COUSIN. BUT DOESN’T SHE LOOK ALMOST EXACTLY LIKE LAURA PALMER?
AGENT COOPER: But it is Laura Palmer. Are you Laura Palmer?
LAURA: I FEEL LIKE I KNOW HER, BUT SOMETIMES MY ARMS BEND BACK.
DWARF: SHE’S FILLED WITH SECRETS. WHERE WE’RE FROM, THE BIRDS SING A PRETTY SONG. AND THERE’S ALWAYS MUSIC IN THE AIR.
[Laura whispers something in Cooper’s ear that you can’t hear.]
I picked this scene from the first episode of Twin Peaks because I think that it will be interesting to work with. The scene takes place in a room lined with red velvet curtains (it’s a dream). When recording the voices of Laura and Dwarf, they had the actors say the lines backwards, and then they reversed the audio, making almost incoherent speech. I would like to play with this idea, using handlettering and tracing paper, maybe writing backwards. These two are contrasted by the clear voice of Agent Cooper, the dreamer, who is the only person completely normal in behavior within the scene. I think I will use a sans serif for his line. At the end of the scene, Laura gets and walks over to Agent Cooper, kisses him, and then whispers something in his ear that the viewer does not get to hear. I’d like to figure out a way to include this, playing with the legibility of the typography.
KEYWORDS:
back in style
Laura Palmer
arms bend back
secrets
birds
music in the air
I like your ideas. Excited to see what you come up with!
the clip starts about 2:18
This is From the Movie Man on Fire
Detective: This is My jurisdiction, I want this man as much as Creasy does.
Rayburn (Christopher Walken): He’ll deliver more justice in a weekend than 10 years of your courts and tribunals-just stay out of his way
Detective: I will even help him, if i can. But, uh, I would like to understand him. Give me that
Rayburn (Christopher Walken): Pita Ramos… thats a number to you. OYu know, one more dead, but a number.
Detective: But whats she to Creasy then
Rayburn (Christopher Walken): She Showed him it was all right to live again.
Detective: And the kidnappers took that away, huh?
Rayburn (Christopher Walken): And they’ve gonna wish they never touched a hair on her head. A man can be an artist… in anything — food, whatever. It Depends on how good he is at it Creasy’s art is death. He’s about to paint his masterpiece. I don’t have anything else to say.
not too sure about this one may pick another one
Okay. If you decide to use this one, write your reasons for choosing and keywords.
Man on Fire is one of my favorite movies. Beautiful cinematography.
Keywords:
Justice
Stay out of his way
number
Live
Artist
Death
Masterpiece
i choose this one because number one its one of my favorite movies as well, and i thought it would be fun to do this conversation to some animated type, this scene is a pretty intense conversation in the movie and i think i would be really cool to convey that visually.
In Martin Scorsese’s cult classic Taxi Driver, the main character-Travis Bickle-takes Iris, an underage prostitute, out to breakfast to try to convince her to give up prostitution.
Keywords: NYC, child prostitution, loner, morality, diner, breakfast, hero, damsel in distress, Pimp, teenager, Manhattan, pride, crime, violence, drugs, prostitution, young girl, runaway, intolerance, hate, underage sex, rescue, vigilantism, misanthrope, 70’s/hippies, Paladin, hopeless.
I-Why do you want me to go back to my parents? I mean, they hate me. Why do you think I split in the first place? There ain’t nothin’ there.
T- Yeah But you can’t live like this. It’s a hell. A girl should live at home.
I-Didn’t you ever hear of women’s lib?
T-What do you mean, women’s lib? You sh- you’re a young girl, you should be at home now. You should be dressed up, you should be going out with boys, you should be going to school. You know, that kind of stuff.
I- God, are you square.
T- Hey, I’m not square, you’re the one who’s square. You’re full of shit, man. What are you talking about? You-you walk out with those fucking creeps…and Lowlifes and degenerates out on the street…and you sell your-sell your little pussy for nothing, man? For some lowlife pimp…who stands in a hole? I’m the-I’m square? You’re the one that’s square, man. I don’t go screw and fuck with a bunch of killers and junkies the way you do. You call that being hip? What world you from?
I- Who’s a killer?
T- That guy Sport’s a killer, that’s who’s a killer.
I- Sport never killed nobody.
T- He killed someone-
I- He’s a Libra.
T- He’s a what?
I-I’m a Libra, too, that’s why we get along so well.
T-He looks like a killer to me.
I-I think that-that Cancers make the best lovers…but, God, my whole family are earth signs.
T-He’s also a dope shooter.
I-So what makes you so high and mighty? Will you tell me that?Didn’t you ever try looking at your own eyeballs in the mirror?
T-So what are you gonna do about Sport and that old bastard?
I- When?
T- When you leave.
I- I don’t know. Just leave them I guess.
T- You’re just gonna leave?
I- Well yeah, they’ve got plenty of other girls.
T- Yeah, but you just can’t do that. What are you gonna do?
I- What do you want me to do, call the cops?
T- Wha- cops don’t do nothing. You know that.
I-Hey, look, Sport never treated me bad. I mean, he didn’t beat me up or anything like that once.
T-But you can’t allow him to do the same to other girls. You can’t allow him to do that. He’s the lowest kind of person in the world. Somebody’s got to do something to him. He’s the scum of the earth. He’s the worst…sss-sucking scum I have ever-ever seen.
You know what he told me about you? He’s-he calling you names. He called you a little piece of chicken.
I-He doesn’t-he-he doesn’t mean that. I’ll move up to one of them communes in Vermont.
T-I n-I never seen a commune before, but I don’t know, you know? I saw…some pictures once in a magazine, it didn’t look very clean.
I-Why don’t you come to the commune with me?
T-Why cant I come to the commune with you? Oh, no.
I-Why not?
T-Uh I don’t-I don’t go to places like that.
I- Oh come one, why not?
T- Nah, I-I don’t get along with people like that.
I- Are you a Scorpion?
T- What?
I-That’s it, you’re a Scorpion. I can tell every time.
T-Besides, I gotta stay here.
I- Come on. Why?
T- I got something very important to do.
I-Oh, so what’s so important?
T-Doing something for the…government. The cab thing is just part-time.
I-Are you a narc?
T- Do I look like a narc?
I- Yeah.
T-I am a narc.
I-God! I don’t know who’s weirder, you or me. Sure you don’t want to come with me?
T-Well, I tell you what I’m gonna do. I’m gonna give you the money to go.
I- Oh no, look. You don’t have to do that.
T- No, no. I want you to take it. I don’t want you take anything from them. I wanna do it. I don’t have anything better to do with my money. I might be going away for a while.
This one is really long, but doable, I think. Once you start storyboarding it, though, you may need to edit a little.
From Pulp Fiction
Characters Vincent & Jules (two Hit-men) are talking at resturant
KEYWORDS
PIG,FILTHY,TASTE,DOG,RAT,FECES,RATIONALE,GOOD,PERSONALITY,CHARMING,MOTHERFUCKING.
Vincent: Want some bacon?
Jules: No, man. I don’t eat pork.
Vincent: Are you Jewish?
Jules: Nah, I ain’t Jewish, I just don’t dig on swine, that’s all.
Vincent: Why not?
Jules: Pigs are filthy animals. I don’t eat filthy animals.
Vincent: Yeah, but bacon tastes good. Pork chops taste good.
Jules: Hey, sewer rat may taste like pumpkin pie, but I’d never know ’cause I wouldn’t eat the filthy motherfucker. Pigs sleep and root in shit. That’s a filthy animal. I ain’t eatin’ nothing that ain’t got sense enough to disregard its own feces.
Vincent: How about a dog? Dog eats its own feces.
Jules: I don’t eat dog either.
Vincent: Yeah, but do you consider a dog to be a filthy animal?
Jules: I wouldn’t go so far as to call a dog filthy, but they’re definitely dirty. A dog’s got personality. Personality goes a long way.
Vincent: Ah, so by that rationale, if a pig had a better personality, he would cease to be a filthy animal. Is that true?
Jules: Well, we’d have to be talkin’ about one charming motherfucking pig. I mean, he’d have to be ten times more charming than that Arnold on Green Acres, you know what I’m saying?
Vincent: [laughing] That’s good.
Sorry this is late…I have Mondays off, so a lot of my design-oriented homework gets pushed to Sun/Mon so my paintings have time to dry.
Movie: Shortbus
Characters Tobias (previous mayor of New York), and Ceth (a gay man trying to find himself) are talking on a couch in the midst of an underground sex party in New York City.
I wanted to work with a movie that wasn’t afraid to be honest, both sexually and emotionally. I picked this quote because I grew up in New York also, and this part of the movie really made sense to me.
Keywords: New York, Fucked, Forgiven, Permeable/Impermeable, Sane/Insane, The Best
Tobias, the Mayor: But you know what’s the most wonderful thing about New York? It’s where everyone comes to get fucked. It’s one of the last places where people are still willing to bend over to let in the new. And the old. New Yorkers are, uh, permeable. You know what I mean?
Ceth: Yeah.
Tobias, the Mayor: You sure?
Ceth: Yeah.
Tobias, the Mayor: Therefore, we’re sane. Consequently, we’re the target of the impermeable. And the insane. And of course, New York is where everyone comes to be forgiven. What’ve you done wrong? Tell me. How have you sinned? I’m sure it’s nothing serious.
Ceth: How would you know?
Tobias, the Mayor: Well, I’m… I’m sure you did your best. But imagine if you grew up here, like I did. Home can be very unforgiving. It’s true. People said I didn’t do enough to help prevent the AIDS crisis, because I was in the closet. That’s not true. I did the best I could. I was… I was scared. And impermeable. Everybody knew so little then. I know even less now.
[Ceth kisses him]
I can’t decide which of these two quotes to do. I think starting the story boards is going to help me sort my ideas and choose.
I’d like to do a quote from Martin Scorcese’s Goodfellas. I think this might be challenging because both of characters in this quote have very strong voices. I think this quote will be fun and give me a lot of room to experiment because of the shift in the characters’ tones. Henry Hill’s voice begins to get nervous and tremble towards the middle of the quote whereas Tommy’s breaks and the humor of his responses show through.
Henry Hill: You’re a pistol, you’re really funny. You’re really funny.
Tommy DeVito: What do you mean I’m funny?
Henry Hill: It’s funny, you know. It’s a good story, it’s funny, you’re a funny guy.
[laughs]
Tommy DeVito: what do you mean, you mean the way I talk? What?
Henry Hill: It’s just, you know. You’re just funny, it’s… funny, the way you tell the story and everything.
Tommy DeVito: [it becomes quiet] Funny how? What’s funny about it?
Anthony Stabile: Tommy no, You got it all wrong.
Tommy DeVito: Oh, oh, Anthony. He’s a big boy, he knows what he said. What did ya say? Funny how?
Henry Hill: Jus…
Tommy DeVito: What?
Henry Hill: Just… ya know… you’re funny.
Tommy DeVito: You mean, let me understand this cause, ya know maybe it’s me, I’m a little ****ed up maybe, but I’m funny how, I mean funny like I’m a clown, I amuse you? I make you laugh, I’m here to ****in’ amuse you? What do you mean funny, funny how? How am I funny?
Henry Hill: Just… you know, how you tell the story, what?
Tommy DeVito: No, no, I don’t know, you said it. How do I know? You said I’m funny. How the **** am I funny, what the **** is so funny about me? Tell me, tell me what’s funny!
Henry Hill: [long pause] Get the **** out of here, Tommy!
Tommy DeVito: [everyone laughs] Ya mother****er! I almost had him, I almost had him. Ya stuttering prick ya. Frankie, was he shaking? I wonder about you sometimes, Henry. You may fold under questioning.
Because this is such an aggressive quote, it probably calls for a bolder design, and I’d like to try doing something less loud for this project. I also chose a quote from Woody Allen’s Annie Hall.
Doctor in Brooklyn: Why are you depressed, Alvy?
Alvy’s Mom: Tell Dr. Flicker.
[Young Alvy sits, his head down – his mother answers for him]
Alvy’s Mom: It’s something he read.
Doctor in Brooklyn: Something he read, huh?
Alvy at 9: [his head still down] The universe is expanding.
Doctor in Brooklyn: The universe is expanding?
Alvy at 9: Well, the universe is everything, and if it’s expanding, someday it will break apart and that would be the end of everything!
Alvy’s Mom: What is that your business?
[she turns back to the doctor]
Alvy’s Mom: He stopped doing his homework!
Alvy at 9: What’s the point?
Alvy’s Mom: What has the universe got to do with it? You’re here in Brooklyn! Brooklyn is not expanding!
Doctor in Brooklyn: It won’t be expanding for billions of years yet, Alvy. And we’ve gotta try to enjoy ourselves while we’re here!
This quote could be fun for exaggerating Alvy’s neuroticism in a comical way.
Okay. Good choices. Do you happen to have audio clips of them? Maybe we can help you decide if you haven’t made the final choice already. Hearing them would be helpful….
From Adaptation (2002, directed by Spike Jonze)
This is a monologue from the opening scene to the film in which Charlie Kaufman is just rambling on about his life.
Charlie Kaufman: [voiceover] Do I have an original thought in my head? My bald head. Maybe if I were happier, my hair wouldn’t be falling out. Life is short. I need to make the most of it. Today is the first day of the rest of my life. I’m a walking cliché. I really need to go to the doctor and have my leg checked. There’s something wrong. A bump. The dentist called again. I’m way overdue. If I stop putting things off, I would be happier. All I do is sit on my fat ass. If my ass wasn’t fat I would be happier. I wouldn’t have to wear these shirts with the tails out all the time. Like that’s fooling anyone. Fat ass. I should start jogging again. Five miles a day. Really do it this time. Maybe rock climbing. I need to turn my life around. What do I need to do? I need to fall in love. I need to have a girlfriend. I need to read more, improve myself. What if I learned Russian or something? Or took up an instrument? I could speak Chinese. I’d be the screenwriter who speaks Chinese and plays the oboe. That would be cool. I should get my hair cut short. Stop trying to fool myself and everyone else into thinking I have a full head of hair. How pathetic is that? Just be real. Confident. Isn’t that what women are attracted to? Men don’t have to be attractive. But that’s not true. Especially these days. Almost as much pressure on men as there is on women these days. Why should I be made to feel I have to apologize for my existence? Maybe it’s my brain chemistry. Maybe that’s what’s wrong with me. Bad chemistry. All my problems and anxiety can be reduced to a chemical imbalance or some kind of misfiring synapses. I need to get help for that. But I’ll still be ugly though. Nothing’s gonna change that.
Some keywords are:Original, bald, happier, chemistry, need, maybe.
I was thinking of having the animation be these thoughts just popping up and feel like their cramming and stressing people out, because the way he says this voice over all this really does bother him.
DUKE : You ate ALL THIS ACID?
No answer.
DUKE : (turning down the volume) You evil son of a bitch. You better hope there’s some Thorazine in that bag, because if there’s not, you’re in bad trouble.
GONZO : Music! Turn it up. Put that tape on.
DUKE : What tape?
GONZO : Jefferson Airplane. “White Rabbit.” I want a rising sound.
DUKE : You’re doomed. I’m leaving here in two hours and then they’re going to come up here and beat the mortal shit out of you with big saps. Right there in that tub.
GONZO : I dig my own graves. Green water and the White Rabbit. Put it on.
DUKE : OK. But do me one last favor, will you. Can you give me two hours? That’s all I ask — just two hours to sleep before tomorrow. I suspect it’s going to be a very difficult day.
He switches on the tape. “WHITE RABBIT” begins to build.
GONZO : (coolly) Of course, I’m your attorney, I’ll give you all the time you need, at my normal rates: $45 an hour – but you’ll be wanting a cushion, so, why don’t you just lay one of those $100 bills down there beside the radio, and fuck off?
DUKE : How about a check?
GONZO : Whatever’s right.
GONZO (V/O) : Help! You bastard! I need help!
DUKE JUMPS up — crosses to the bathroom door, muttering.
DUKE : Shit, he’s killing himself!
GONZO : (snarling) I want that fucking radio!
DUKE : Don’t touch it! Get back in that tub!
GONZO : Back the tape up. I need it again! Let it roll! Just as high as the fucker can go! And when it comes that fantastic note where the rabbit bites its own head off, I want you to THROW THAT FUCKING RADIO INTO THE TUB WITH ME!
DUKE stares down at GONZO.
DUKE : Not me. It would blast you through the wall — stone dead in ten seconds and they’d make me explain it!
GONZO : BULLSHIT! Don’t make me use this.
HIS ARM LASHES OUT OF THE WATER, HOLDING THE KNIFE.
DUKE : Jesus.
GONZO : Do it! I want to get HIGHER!
DUKE considers this. He’s had enough.
DUKE : Okay. You’re right. This is the only solution. (holds the PLUGGED IN TAPE/RADIO over the tub) Let me make sure I have it all lined up. You want me to throw this thing into the tub when “WHITE RABBIT” peaks. Is that it?
GONZO : Fuck yes. I was beginning to think I was going to have to go out and get one of the goddamn maids to do it.
DUKE : Are you ready?
fear and loathing in las vegas
[Billy Flynn]
Tell me, Miss Kelly, you make a deal with Mr. Harrison maybe to drop all
charges against you if you testify here today?
[Velma Kelly]
Oh, sure. I’m not a complete idiot.
[Billy Flynn]
Good. Since you gave such an impressive performance for Mr. Harrison, can you
do me the same honour?
[Velma Kelly]
I’d be delighted.
[Billy Flynn]
Thank you.
[Velma Kelly]
“Fred Casely assured me to get me an audition down at the Onyx. And then he
reneged on his pledge and that’s my motive for attack.”
[Billy Flynn]
Pretty fancy. What you’re saying if a big fat liar who rogue on a deal so I
shot him.
“Amos accused me of having an affair. So I told him that the charge was
erroneous.”
[Martin Harrison]
Objection, your honour. Mr. Flynn is twisting the evidence to draw conclusion
to the specious and the…
[Billy Flynn]
Erroneous?
[Martin Harrison]
Exactly.
[The Judge]
Order! Order!
[Billy Flynn]
Miss Kelly, did you know the meaning of the word perjury?
[Velma Kelly]
Yes, l do.
[Billy Flynn]
You also know that is a crime?
[Velma Kelly]
Yes.
[Billy Flynn]
And for example if it turns out you knew this diary was a fake, I hate to think
you rotting away in prison for the next 10 years especially when you just win
your freedom.
[Velma Kelly]
All I know is what I was told.
[Billy Flynn]
So… you didn’t find this diary in Roxie’s cell?
[Velma Kelly]
No. Mama… Miss Morton gave it to me. She said someone sent it to her.
[Billy Flynn]
Someone? Any idea who this mysterious benefactor might be?
[Velma Kelly]
No. She didn’t know.
[Billy Flynn]
All right, let’s work this out. Someone who writes about reneging on pledges.
And… erroneous charges… Call me crazy, does that sound like a lawyer to
you? A lawyer, who honestly has a sample of my client’s handwriting.
Mr. Harrison, do you have Roxie to write out a confession to you?
[Martin Harrison]
Yes, but you’re not suggesting that I tempered with evidence, are you?
[Billy Flynn]
No, let’s not be ridiculous. That’s absurd. Unless you mention it.
[Martin Harrison]
Your honour, this is outrageous.
[Billy Flynn]
Outrageous? Yes. The prosecutor would made a thief bargain with Velma Kelly.
And then fabricated the very evidence and set her free!
[Martin Harrison]
Your honour:.
[The Judge]
Mr. Flynn, hold your contempt.
[Billy Flynn]
No, it’s not even conceivable. But does it worked? Would it be time to say,
Come clean, Mr. Harrison, come clean… This guy is a corruption. I cannot stand.
[The Judge]
That’s enough, Mr. Flynn!
[Billy Flynn]
I agree, your honour. That’s enough!
It defend stress.
I may edit a little bit of this.
KEY WORDS:
Idiot, Honour, Attack, Affair, Erroneous, Twisting, Order, Perjury, Fake, Rotting, Theft, Outrageous, Absurd, Contempt, Corruption
It’s from Chicago- The fast paced tap dance scene where Billy the lawyer wins the court over in Roxy’s favor. It’s pretty rediculous, so I want to play with some fonts that would have been used on show posters from that time, letterpress type of style, and loud, upbeat animation.
I turned this into a mp3 by recording it through garageband. its not the best quality but it works.
Didn’t realize we were posting this to the blog, I thought we were just bringing it to class. Oops.
I’m going to do this dialog from Monster’s Inc. between Roz and Mike. I chose it because it is one of my favorite movies, and this interaction between Mike and Roz is probably my favorite part of the movie. I think it will work really well for this assignment because there is a lot of imagery, dramatic pauses, inflection, and emotion.
Mike: Roz, my tender, oozing blossom, you’re looking fabulous today. Is that a new haircut? Tell me it’s a new haircut. It’s got to be a new haircut. New makeup? You had a lift? You had a tuck? You had something? Something has been inserted in in you that makes you look… Listen, I need a favor. Randall was working late last night out on the scare floor. I really need the key to the door he was using.
Roz: Well, isn’t that nice? But guess what? You didn’t turn in your paperwork last night.
Mike: He didn’t… I… no paperwork?
Roz: This office is now closed.
[Roz closes the window on Mike’s fingers]
Mike: YAAAAAAAAAAAAAAAAAH!
keywords: excuses, favors, flattery, imagery, violence, reactions, sarcasm, screaming, frankness, monsters, paperwork, office, secretary
Calvin: NO! NO NO NO NO NO NO NO NO!
Dad: Goodness. What was all that fuss?
Mom: Oh, Calvin didn’t want to take his bath. What a noisy kid!
Calvin: I’m doomed. I cant believe my own parents would do this to me!
Soap creature: AH-HA! I’ve got you now, kid!
Calvin: AAUGH! HELP! Quick, MOMMM!
Soap creature: HA HA HA! Have a drink!
Calvin: HELP! (Gurgle blub)
Mom: CALVIN! Quiet down and quit that splashing! I don’t want to have to clean the whole bathroom!
Calvin: Ha! I pulled the plug! Down the drain with you! DIE, FIEND! DIE! DIE!
Soap creature: AAARRRGHHH.
Mom: Don’t tell me he’s letting the water out already.
Calvin: Believe it, lady.
This is a dialogue from Calvin and Hobbes, a comic series about a five-year-old and his stuffed tiger. I chose this because the contrast between Calvin’s five-year-old imagination-based dialogue and that of his mother’s exasperated, realistic, adult point-of-view seems like an interesting subject for a visual distinction.
Keywords: childhood, imaginary, kid, dramatic, rebellious, authoritative, exaggeration.
This is a conversation between Charlene (who doesn’t really believe in love) and Nick, from their documentary about love, called Paper Heart.
Key words [ love, felt, believe, ideas, realized, boyfriend, drugs ]
Charlene and Nick
Paper Heart
So you say you don’t believe
in love now,
but have you always
felt that way?
I believed in it
when I was a kid,
but again, all my ideas
about love
kind of came from movies
and fairy tales.
And as I grew up I realized
that life is nothing like that.
Was that ’cause you had
your heart broken?
No.
I’ve only ever had one boyfriend.
I thought I really liked him.
I thought he was all dark and mysterious
and he had shadows
under his eyes.
But then I realized that was only
because he was on drugs.
This is from O Brother Where Art Thou?
– All right, boys!
How’s my hair?
It’s the authorities! We got you surrounded.
Damn, we’re in a tight spot.
Just come on out and grab at air!
And don’t try nothin’ fancy.
Your situation is pretty nigh hopeless.
– Damn! We’re in a tight spot! – What in the Sam Hill…?
Pete’s cousin turned us in.
What the hell you sayin’?!
Wash is kin!
Sorry, Pete!
I know we’re kin, but they got this depression on.
I got to do for me and mine.
I’m gonna kill you, Judas Iscariot Hogwallop!
You miserable, horse-eatin’ son of a…
Damn! We’re in a tight spot!
Damn his eyes!
Pa always said, “Never trust a Hogwallop”.
Come and get us, coppers!
You leave us no choice but to smoke you out.
We’re in a tight spot.
Light her up!
key words- desperation, betrayal, vanity, damn, fire, south,
changed my quote same movie same characters different scene
Jules: [Vincent and Jules are cleaning the inside of the car which is covered in blood] Oh, man, I will never forgive your ass for this shit. This is some fucked-up repugnant shit.
Vincent: Jules, did you ever hear the philosophy that once a man admits that he’s wrong that he is immediately forgiven for all wrongdoings? Have you ever heard that?
Jules: Get the fuck out my face with that shit! The motherfucker that said that shit never had to pick up itty-bitty pieces of skull on account of your dumb ass.
Vincent: I got a threshold, Jules. I got a threshold for the abuse that I will take. Now, right now, I’m a fuckin’ race car, right, and you got me the red. And I’m just sayin’, I’m just sayin’ that it’s fuckin’ dangerous to have a race car in the fuckin’ red. That’s all. I could blow.
Jules: Oh! Oh! You ready to blow?
Vincent: Yeah, I’m ready to blow.
Jules: Well, I’m a mushroom-cloud-layin’ motherfucker, motherfucker! Every time my fingers touch brain, I’m Superfly T.N.T., I’m the Guns of the Navarone! IN FACT, WHAT THE FUCK AM I DOIN’ IN THE BACK? YOU’RE THE MOTHERFUCKER WHO SHOULD BE ON BRAIN DETAIL! We’re fuckin’ switchin’! I’m washin’ the windows, and you’re pickin’ up this nigger’s skull!
From Hard Candy. Haley has tied up Jeff, and is getting ready to “castrate” him. He’s (obviously) trying to talk her out of it, but Haley’s quite the determined 14-year old girl. She’s just found a stash of child porn in Jeff’s house, and the realization that he is indeed a pedophile is brought up.
Jeff Kohlver: You’re getting yourself in terrible trouble.
Hayley Stark: Oh? Oh and how’s that?
Jeff Kohlver: If you cut me in any way you won’t forget it. It changes you when you hurt somebody.
Hayley Stark: Oh and you speak from experience I guess.
Jeff Kohlver: I’ve just lived. Unlike you. The things you do wrong… they haunt you.
Hayley Stark: Tell me what you’re haunted by.
Jeff Kohlver: Do you wanna remember this day when you’re with a guy? On a date? Or on your wedding night? ‘Cause I promise you you will. Don’t do that to yourself.
Hayley Stark: Wow… You know, that is so thoughtful! You are speaking to me so selflessly! I mean, you just don’t want me to castrate you for my own benefit? Wow, I’m touched. Jeff, why don’t we imagine someone saying the same thing to you at a random moment? Imagine that when you downloaded this little girl… I was sitting by your side saying, “Stop, don’t do that to yourself. Stop, don’t do that to yourself. Stop. Stop.” Would you have listened?
KEYWORDS
Terrible Trouble
experience
haunt
selflessly
castrate
touched
little girl
stop
Here’s the original Calvin and Hobbes strip I quoted from:
Here’s the original Calvin and Hobbes strip I quoted from:
Excerpt from Beales of Grey Gardens
[Narrator]
You’re dressed for battle; Edie.
[Edie]
Mother’s telling Marjorie how
spoiled I am, how terrible I am.
And Marjorie knew my father
and my uncle and everybody.
Mother’s giving her
all this S-H-I-T,
so I went and told her
some things about the family.
But, you see,
in dealing with me…
the relatives didn’t know…
that they were dealing
with a staunch character.
And I tell you, if there’s anything
worse than a staunch woman–
S-T-A-U-N-C-H.
There’s nothing worse,
I’m telling you.
[Sighs]
They don’t weaken… no matter what.
But they didn’t know that.
Well, how were they to know ?
KEYWORDS
staunch, shit, know, mother, character, terrible, spoiled, woman
dialogue ends at 54 seconds
here’s the clip:
key phrases:
(sorry they seem like garbage! you’ll have to listen!”
“Hamlet?”
“Thamel!”
‘Be ot or bot ne ot, tath is the nestquoi.’
“spoonerism”
” split hairs… piss off!”
i decided to change my quote.
its the end scene from annie hall.