"Now some days they last longer than others, but this day by the lake went too fast. And if you want me, you better speak up — I won’t wait. So you better move fast."

— Rilo Kiley, “With Arms Outstretched” (via fuckyeahrilokiley)

"Yell and shout and kick me out and forget what we fought about but don’t give up, this storm is passing."

— The Submarines, “Peace and Hate” (from Declare a New State!)

Shadows and Fog - Woody Allen

  • Kleinman: It's your money! Why give it away?
  • Irmy: I'm ashamed of the way I got it.
  • Kleinman: Listen, I'm sure you didn't steal it.
  • Irmy: No, I slept with someone for it. [defensive] Just one person, does that make me a whore?
  • Kleinman: Well, only by the dictionary definition.

Great Northern starting their set

  • Rachel: Thanks for coming out! There was supposed to be another band before us. But they...there wasn't.
  • Solon: Because we killed them.
  • Rachel: Yes, we killed them. They're in our van right now. And we're going to eat them while we're on tour.

Fi being, well, Fi (Burn Notice)

  • Fiona: If this was about revenge, I'd be fine with it.
  • Michael: Revenge is a waste of time.
  • Fiona: Well, so is watching TV and eating candy. You do it because it feels good.

"It’s not a critic’s job to reflect box office taste. The job is to describe my reaction to a film, to account for it, and evoke it for others. The job of the reader is not to find his opinion applauded or seconded, but to evaluate another opinion against his own. But you know that. We’ve been over that ground many times. What disturbs me is when I’m specifically told that I know too much about movies, have “studied” them, go into them “too deep,” am always looking for things the average person doesn’t care about, am always mentioning things like editing or cinematography, and am forever comparing films to other films."

— Roger Ebert - I am a Braniac

"How many critics need to tell you to watch [Mad Men] before you actually sit down and do it? Yeah, it’s a little slow, but slow things pay off. Like a spaghetti western. Or graduate school. It’s light on overt plot development and heavy on mood and subtext, but that mood and subtext are an effective, biting indictment of the misogynist, capitalist era it’s focused upon (an ear in which, some would argue, we still live). The acting is mostly presence, but most of the actors have the type of burning presence you just plum don’t see anymore. Also, I want Don Draper to be my boyfriend. Yeah, I know he’s married and I know he has other mistresses and he can be a little cold sometimes and I know we’re both heterosexual and I’m a record store clerk and he’s a fictional character and yadda yadda yadda. All I know is that when I’m in his arms I feel safe."

— Javier, employee at Amoeba Records Hollywood, in the “Music (and Movies) We Like” booklet. Possibly the best mini-review I’ve read ever. :)

"It was an unforgettable painting; it set a dense golden halo of light round the most trivial of moments, so that the moment, and all such moments, could never be completely trivial again."

— John Fowles, The Magus (pp 100 in the mass market paperback edition)

"What vexes me most about “Filth and Wisdom” is the economics. Madonna has been a global star for decades. She has amassed a fortune, much of which presumably remains intact. She can’t have spent all of it on jodhpurs and conical bras. So why, when it came to launching herself as a film director, did she limit her budget to $365.23? Such, at any rate, is my estimate for the funding of “Filth and Wisdom.” If the actors were paid according to their talents, they cannot have cost more than forty bucks. In the case of Richard E. Grant, the one sizable name in the cast, his performance as a tweedy, sightless poet is so embarrassing that I trust he took no payment at all. The only major expense was the lighting: a toy flashlight, I would guess, placed carefully in the corner of each room and angled upward—hence the capering shadows that Andriy casts on his living-room walls. In technical terms, more professional productions than this are filmed and cut on iMovie, by ten-year-olds, a thousand times a day."

— Anthony Lane, The New Yorker, 20 Oct 2008.

"I don’t like crooks. And if I did like ‘em, I wouldn’t like crooks that are stool pigeons. And if I DID like crooks that are stool pigeons, I still wouldn’t like you!"

— Marion, the stoolie’s girl - The Thin Man