|
 Introduction:
Film speeches are normally delivered orally and directed at an audience
of three or more people, although there can be exceptions. They are
usually persuasive-type speeches, either designed to promote or to dissuade,
and they are highly quotable.
Greatest Film Speeches and Monologues: Video store
chain Blockbuster Video (in the UK) held a series of polls in
late 2003 with its customers to determine the 20 Greatest Film Speeches
and Monologues in cinematic history. These are marked in the following
lists with this symbol --  and
by their original ranking number in the top 20. Although
there were some excellent choices in their poll, the results almost
completely ignored early films, and entirely disregarded films with
speeches made by female characters. Greatest Films has provided
this expanded listing of Best Film Speeches and Monologues here
of deserving, best film monologues and speeches.
Note: The films that are marked with
a yellow star 
are the films that "The Greatest Films" site has selected as the 100
Greatest Films.
| |
| Film
and Brief Title |
Speech |
Example |
| The
Straight Story (1999)
 Lamenting
a Deer Killing
|
Alvin Straight's
(Richard Farnsworth) cross-country mower-riding encounter with a
slightly-unbalanced Deer Woman (Barbara Robertson) who laments hysterically
that she has just killed another deer and seriously dented the front end of her car: ("You can't help me. No one can help me. I've tried driving with my lights on. I've tried sounding my horn. I scream out the window. I roll the window down and bang on the side of the door and play Public Enemy real loud. I have prayed to St.
Francis of Assisi, St. Christopher, too. What the heck. I've tried
everything a person can do. And still, every week, I plow into at
least one deer. I have hit thirteen deer in seven weeks
driving down this road, mister. And I have to drive down this road every day, forty miles back and forth to work. I have to drive to work and I have to drive home. Where do they come from? He's dead. And I love deer.") |
|
Boiler Room (2000)
"I'm
a F--king Millionaire"
|
27 year-old, arrogant
suburban investment firm Jim Young's (Ben Affleck) speech to new
recruits on how to become a fast-track millionaire: ("You become
an employee of this firm, you will make your first million
within three years. OK. I'm gonna repeat that - you will
make a million dollars within three years of your first day of employment
at JT Marlin. There is no question as to whether or not you will
become a millionaire working here, the only question is how many
times over. Do you think I'm joking? I'm not joking. I am a millionaire.
It's a weird thing to hear, right? I'll tell you, it's a weird thing
to say. I'm a f--king millionaire... You guys are the new blood.
You're gonna go home with the kesef. You are the future Big-Swinging-Dicks
of this firm. Now you all look money hungry and that's good. Anybody
who tells you money is the root of all evil, doesn't f--kin' have
it! You say 'Money can't buy happiness'? Look at that f--king smile
on my face. Ear to ear, baby. You want details? Fine. I drive a
Ferrari 355 Cabriolet... (He throws his car keys on the desk) I
have a ridiculous house on the South Fork. I have every toy you
can possibly imagine. And best of all, kids, I am liquid...")
|
 |
| Crouching
Tiger, Hidden Dragon (2000, HK)
A
Mystical Legend
|
Outlaw horde
leader Lo's (Chen Chang) mystical legend about a cliff to lover
Jen Yu (Ziyi Zhang), before she reluctantly returns to her family:
("You must decide. You might get tired of this life. You might
begin to miss your family. If it were our daughter, we'd look for
her too. She would miss us. Jen... I want you to be mine forever.
I will make my mark on the world. I will earn your parents' respect.
We have a legend. Anyone who dares to jump from the mountain, God
will grant his wish. Long ago, a young man's parents were ill, so
he jumped. He didn't die. He wasn't even hurt. He floated away,
far away, never to return. He knew his wish had come true. If you
believe, it will happen. The elders say, 'A faithful heart makes
wishes come true.'") |
|
| Gladiator (2000)
Address to the Troops of the Roman Cavalry
|
# 11
General Maximus (Russell Crowe) to his troops:
("Fratres! Three weeks from now I will be harvesting my crops.
Imagine where you will be, and it will be so. Hold the line! Stay
with me! If you find yourself alone, riding in green fields with
the sun on your face, do not be troubled -- for you are in Elysium,
and you're already dead!") |
 |
| High
Fidelity (2000)
The Number Five Best Breakup
|
The delayed,
hysterical reaction of 30-something record store owner Rob Gordon
(John Cusack) to the news that his ex-girlfriend Laura (after a
devastating break-up) was with a guy named Ian 'Ray' Raymond (Tim
Robbins): "(He grimaces) What f--king Ian guy?! Laura doesn't
know anybody called Ian. There's no Ian in her office. She has no
friends called Ian! I'm almost certain she has never met anyone
named Ian in her entire life. She lives in an --"Ian-less"
universe. (He picks up a letter on the mail table in the hallway
of his building - it's a cable service bill to Mr. I. Raymond) 'I.
Raymond' Ray. 'I.' Ian. (He crumples it, then speaks to the camera)
Mr. I. Raymond, "Ray" to his friends and more importantly,
to his neighbor. The guy who, until about six weeks ago, lived upstairs.
I start to remember things about him now. His horrible clothes and
hair. His music: Latin and Bulgarian, whatever world music was trendy
that week. He had rings on his fingers. Awful cooking smells. I
never liked him much then, and I f--kin' hate him now. (He is unable
to sleep and cries a little) We used to listen to him having sex,
upstairs. (Rob has a nightmarish thought: Ian and Laura having wild
crazy sex on a creaky bed above him)...You are as abandoned and
noisy as any character in a porn film, Laura. You are Ian's plaything,
responding to his touch with shrieks of orgasmic delight. No woman
in the history of the world is having better sex than the sex you
are having with Ian in my head....Number five -- Jackie Alden. Jackie
Alden's breakup had no effect on my life whatsoever. It was a casual
thing and I was glad when it ended. I just slotted her in to bump
Laura out of position. But now, congratulations, Laura. You made
it to the top five. Number five was a bullet. Welcome.")
|
|
| Requiem
for a Dream (2000)
"I'm
Lonely. I'm Old"
|
Pill-addicted,
elderly, TV-addicted Sara Goldfarb's (Ellen Burstyn) discussion
with her heroin-addicted son Harry (Jared Leto) concerning her sad
feelings about getting old and feeling lonely and useless: ("Soon,
millions of people will see me and they'll all like me. I'll tell
them about you, your father, how good he was to us. Remember? It's
a reason to get up in the morning. It's a reason to lose weight.
To fit in a red dress. It's a reason to smile. It makes tomorrow
alright. What have I got, Harry? Hmm? Why should I even make the
bed or wash the dishes? I do them. But why should I? I'm alone.
Your father's gone. You're gone. I've no one to...care for. What
have I got, Harry?....I'm lonely. I'm old") |
|
| Ali (2001)
"You
My Opposer"
|
Cassius Clay's/Muhammed
Ali's (Will Smith) defiant reason for refusing to serve in Vietnam
as a conscientious objector: ("I ain't draft dodging. I ain't
burning no flag. I ain't running to Canada. I'm staying right here.
You want to send me to jail? Fine, you go right ahead. I've been
in jail for 400 years. I could be there for 4 or 5 more, but I ain't
going no 10,000 miles to help murder and kill other poor people.
If I want to die, I'll die right here, right now, fightin' you,
if I want to die. You my enemy, not no Chinese, no Vietcong,
no Japanese. You my opposer when I want freedom. You
my opposer when I want justice. You my opposer when I want
equality. Want me to go somewhere and fight for you? You won't even
stand up for me right here in America, for my rights and my religious
beliefs. You won't even stand up for my right here at home.") |
 |
| Waking Life (2001)
"I
Want Real Human Moments"
|
One of the many
great monologues in this contemplative, existential experimental
film was Soap Opera Woman's (Tiana Hux) response to bumping into
The Dreamer (Wiley Wiggins) and explaining her need for human interaction:
("Hey, could we do that again? I know we haven't met, but,
I don't wanna be an ant, ya know? I mean, it's like we go through
life with our antennas bouncing off one another continuously on
'ant autopilot' with nothing really human required of us.
'Stop,' 'Go,' 'Walk here,' 'Drive there.' All action basically for
survival. All communication simply to keep this ant colony buzzing
along in an efficient, polite manner. 'Here's your change,' 'Paper
or plastic?', 'Credit or debit?', 'Do you want ketchup with that?'
I don't want a straw. I want real human moments. I want to see you.
I want you to see me. I don't want to give that up. I don't want
to be an ant. Ya know?...") |
|
| The
Ongoing WOW |
Timothy 'Speed'
Levitch's (as Himself) rambling, excited thoughts of existence on
the Brooklyn Bridge: ("On this bridge, Lorca warns: Life is
not a dream, beware, and beware, and beware. And so many think because
then happened, now isn't. But didn't I mention? The ongoing WOW
is happening right NOW. We are all co-authors of this dancing
exuberance, for even our inabilities are having a roast. We are
the authors of ourselves, co-authoring a gigantic Dostoevsky novel
starring clowns... An assumption developed that you cannot understand
life and live life simultaneously. I do not agree entirely, which
is to say, I do not exactly disagree. I would say that life understood
is life lived. But, the paradoxes bug me, and I can learn
to love and make love to the paradoxes that bug me, and on really
romantic evenings of self, I go salsa dancing with my confusion.
Before you drift off, don't forget, which is to say remember, because
remembering is so much more a psychotic activity than forgetting:
Lorca, in that same poem, said that the Iguana will bite those who
do not dream, and as one realizes that one is a dream figure in
another person's dream... that is self-awareness!") |
|
| "Moving
From the 'No' to the 'Yes'" |
The Pinball
Playing Man's (director Richard Linklater) long description of existence:
("Actually, there's only one instant, and it's right now, and
it's eternity. And, it's an instant in which God is posing a question,
and that question is basically, 'Do you wanna be one with eternity,
do you want to be in heaven?' And, we're all saying, 'Nooo thank
you, not just yet.' And so time, is actually just this constant
saying 'No' to God's invitation... Behind the phenomenal difference
there is but one story, and that's the story of moving from the
'No' to the 'Yes.' All of life is like, 'No thank you, No thank
you, No thank you.' And then, ultimately, it's, 'Yes I give in,
Yes I accept, Yes I embrace.' I mean, that's the journey. Everyone
gets to the 'Yes' in the end, right?"), before advising the
Dreamer (Wiley Wiggins): ("If you can wake up, you should,
cause someday you won't be able to, so just um...but it's easy....just
wake up.") |
 |
Adaptation
(2002)
"Today is the first day of the rest of my life"
|
The opening voice-over monologue by self-loathing screenwriter Charlie Kaufman (Nicolas Cage), heard over the credits - small white typewriter text at the bottom of a black screen: ("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 and prove myself. What if I learned Russian or something, or took up an instrument. I could speak Chinese. I would 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.")
|
|
| Wasting My Two Precious Hours |
The answer given to struggling screenwriter Charlie Kaufman during a 3-day NYC writing seminar given by lecturer Robert McKee (Brian Cox), when Charlie asked about how to "write a story where nothing much happens...more a reflection of the real world": ("The real world?...The real f--king world. First of all, you write a screenplay without conflict or crisis, you'll bore your audience to tears. Secondly, nothing happens in the world? Are you out of your f--king mind? People are murdered every day. There's genocide, war, corruption. Every f--king day, somewhere in the world, somebody sacrifices his life to save somebody else. Every f--king day, someone, somewhere takes a conscious decision to destroy someone else. People find love, people lose it. For Christ's sake, a child watches a mother beaten to death on the steps of a church. Someone goes hungry. Somebody else betrays his best friend for a woman. If you can't find that stuff in life, then you, my friend, don't know crap about life. And why the f--k are you wasting my two precious hours with your movie? I don't have any use for it! I don't have any bloody use for it.") |
|
| The Ending: "I Like This. This is Good" |
The last lines of the film, in which long-suffering scriptwriter Charlie Kaufman finally realized how to finish his script for The Orchid Thief, after honestly expressing his love for pretty ex-dating partner Amelia Kavan (Cara Seymour) and for once being filled with hope, with the upbeat playing of The Turtles' song "Happy Together" - and a sped-up time lapse photograph of flowers and an LA street over a period of several days: ("I have to go right home. I know how to finish the script now. It ends with Kaufman driving home after his lunch with Amelia, thinking he knows how to finish the script. S--t, that's voice-over. McKee would not approve. How else can I show his thoughts? I don't know. Oh, who cares what McKee says? It feels right. Conclusive. I wonder who's gonna play me. Someone not too fat. I liked that Gerard Depardieu, but can he not do the accent? Anyway, it's done. And that's something. So: 'Kaufman drives off from his encounter with Amelia, filled for the first time with hope.' I like this. This is good.")
|
|
A Beautiful Mind (2002)
"The
Most Important Discovery of My Life"
|
John Nash's (Russell Crowe)
December 1994 Nobel Prize Acceptance Speech in Stockholm, Sweden:
("Thank you. I've always believed in numbers and the equations
and logics that lead to reason. But after a lifetime of such pursuits,
I ask: "What truly is logic?" "Who decides reason?"
My quest has taken me through the physical, the metaphysical, the
delusional -- and back. And I have made the most important discovery
of my career, the most important discovery of my life: It is only
in the mysterious equations of love that any logic or reasons can
be found. I'm only here tonight because of you [referring to his
wife, Alicia]. You are the reason I am. You are all my reasons.
Thank you.") |
|
| Gangs of New York
(2002)
Knife-Fighting
and Killing
|
The chilling
scene in which Bill "The Butcher" Cutting (Daniel Day-Lewis) showed young Amsterdam
Vallon (Leonardo DiCaprio) how to knife-fight, using a butchered
pig as a proxy for a man, before stabbing the pig repeatedly in
demonstration: ("You get to know a lot butchering meat. We're
made up of the same things - flesh and blood, tissue, organs. I
love to work with pigs. The nearest thing in nature to the flesh
of a man is the flesh of a pig...This is the liver. The kidneys.
The heart. This is a wound -- the stomach will bleed and bleed.
This is a kill. This is a kill. Main artery. This
is a kill") |
 |
| "That Was the Finest Beating I Ever Took" |
Bill "The Butcher" Cutting's wizened, weary speech at the foot of Amsterdam's bed after he'd saved him from assassination attempt, not knowing Priest Vallon (Liam Neeson) was Amsterdam's father: ("No, I don't never sleep too much. I have to sleep with one eye open, and I only got one eye, right?... I'm forty-seven. Forty-seven years old. You know how I stayed alive this long? All these years? Fear. The spectacle of fearsome acts. Somebody steals from me, I cut off his hands. He offends me, I cut out his tongue. He rises against me, I cut off his head, stick it on a pike, raise it high up so all on the streets can see. That's what preserves the order of things. Fear. That one tonight, who was he? A nobody. A coward. What an ignominious end that would have been. I killed the last honorable man fifteen years ago. Since then, it's... You seen his portrait downstairs?... Is your mouth all glued up with cunny juice? I asked you a question... Oh, you got a murderous rage in you, and I like it. It's life, boiling up inside of you. It's good. The Priest and me, we lived by the same principles. It was only faith divided us. He gave me this, you know. That was the finest beating I ever took. My face was pulp, my guts was pierced, and my ribs was all mashed up. And when he came to finish me, I couldn't look him in the eye. He spared me because he wanted me to live in shame. This was a great man. A great man. So I cut out the eye that looked away. Sent it to him wrapped in blue paper. I would have cut 'em both out if I could have fought him blind. Then I rose back up again with a full heart and buried him in his own blood... He was the only man I ever killed worth remembering. I never had a son. Civilization is crumbling. (He kissed his hand, and placed it on Amsterdam's forehead as a blessing) God bless you.") |
|
| Eulogy
for the Fallen Dead in New York |
The closing
monologue in which Amsterdam (Leonardo DiCaprio) eulogized the dead and fallen of New
York: ("In the end, they put candles on the bodies, so's their
friends -- if they had any -- could know them in the dark. The city
did this free of charge. It was four days and nights before the
worst of the mob was finally put down. We never knew how many New
Yorkers died that week before the city was finally delivered. My
father once told me we was all born of blood and tribulation; so
then, too, was our great city. But for those of us who had lived
and died in them furious days... it was like everything we knew
was mightily swept away. And no matter what they did to build this
city back up again -- for the rest of time -- it would be like nobody
even knew we was ever here"), followed by the astonishing "time
passage" sequence which showed the development of Lower Manhattan
from 1863 through to pre-9/11 while U2's Hands That Built America
played. |
|
| The
Lord of the Rings: The Two Towers (2002)
Gollum's
Schizo-phrenic Monologue with Himself
|
Smeagol
(aka Gollum) originally a Hobbit, was a withered and piteous creature
living in the caves beneath the Misty Mountains, who was driven
mad and twisted by his loss of the One Ring decades ago - but
now compelled to haunt Middle-earth, searching everywhere for
the only thing in the world he ever cared for - his 'precious';
in a nighttime scene while Frodo (clutching the Ring) and Sam
sleep, Gollum crouches nearby and talks to himself:
Gollum: (with an evil expression) We wants it. We needs it. Must
have the precious. They stole it from us. Sneaky little hobbitses.
Wicked, tricksy, false!
Smeagol: (sweetly) No! Not master.
Gollum: Yes, precious. First they will cheat you, hurt you, LIE.
Smeagol: Master's my friend!
Gollum: You don't have any friends, nobody likes you!
Smeagol: (covering his ears) I'm not listening, I'm not listening.
Gollum: You're a liar and a thief.
Smeagol: No!
Gollum: Mur-der-er.
Smeagol: Go away!
Gollum: Go away? (Gollum laughs manically as Smeagol begins crying)
Smeagol: I hate you, I hate you.
Gollum: Where would you be without me? Gollum! Gollum! I saved
us! It was me! We survived because of me! (Smeagol stops crying)
Smeagol: (sitting up) Not anymore.
Gollum: What did you say?
Smeagol: Master looks after us now. We don't need you.
Gollum: What?
Smeagol: Leave now, and never come back!
Gollum: No!
Smeagol: LEAVE NOW AND NEVER COME BACK! (Gollum screams in frustration)
Smeagol: LEAVE NOW AND NEVER COME BACK! (Silence)
(Smeagol hesitates and looks around, then realizes that Gollum
has left, and he begins to dance and jump around)
We told him to go away... and away he goes, precious! Gone, gone,
gone! Smeagol is free! |
|
| One
Hour Photo (2002)
Picture-Taking
|
Lonely, pride-filled,
dedicated and creepily-dangerous psychopath Seymour "Sy"
Parrish's (Robin Williams) dead-pan description of his 20 year-plus
job at a Savmart photo mini-lab and his views on picture-taking:
("I've been doing PSO lab work for over 20 years now. I consider
it an important job. When people's houses are on fire, what's the
first thing they save after their pets and their loved ones are
safe? The family photos. Some people think that this is a job for
a clerk. They actually believe that any idiot that attends a two-day
seminar can master the art of making beautiful prints in less than
an hour. Of course, like most things, there's far more to it than
meets the eye. I've seen the prints they fop off on people at the
Rexall or Phtotech, milky washed out prints, too dark prints. There's
no sense of reverence for the service they're providing people.
I process these photos as if they were my own...Family photos depict
smiling faces. Births. Weddings. Holidays. Children's birthday parties.
People take pictures of the happy moments in their lives. Someone
looking through our photo album would conclude that we had led a
joyous, leisurely existence, free of tragedy. Nobody ever takes
a photograph of something they want to forget...I'm sure my customers
never think about it, but these snapshots are their little stands
against the flow of Time. The shutter's clicked, the flash goes
off, and they've stopped Time, just for the blink of an eye. And
if these pictures have anything important to say to future generations,
it's this: 'I was here. I existed. I was young. I was happy, and
someone cared enough about me in this world to take my picture'...") |
|
| 25th
Hour (2002)
Curse-Fest
|
Brooklyn drug
dealer Monty Brogan's (Edward Norton) profanity-rich bathroom mirror
monologue - a long tirade and rant against everybody and everything
- the mirror has a "F--k You!" written on it: ("F--k
me? F--k you! F--k you and this whole city and everyone in it...F--k
the panhandlers, grubbing for money, and smiling at me behind my
back. F--k the squeegee men dirtying up the clean windshield of
my car. Get a f--king job. F--k the Sikhs and the Pakistanis bombing
down the avenues in decrepit cabs, curry steaming out their pores,
stinking up my day. Terrorists in fucking training. Slow the f--k
down! F--k the Chelsea boys with their waxed chests and pumped up
biceps. Going down on each other in my parks and on my piers, jingling
their dicks on my Channel 35. F--k the Korean grocers with their
pyramids of overpriced fruit and their tulips and roses wrapped
in plastic. Ten years in the country, still no speaky English? F--k
the Russians in Brighton Beach. Mobster thugs sitting in cafés,
sipping tea in little glasses, sugar cubes between their teeth.
Wheelin' and dealin' and schemin'. Go back where you f--king came
from! F--k the black-hatted Hasidim, strolling up and down 47th
Street in their dirty gabardine with their dandruff. Selling South
African apartheid diamonds! F--k the Wall Street brokers. Self-styled
masters of the universe...") |
 |
Down With Love (2003)
"There is No Barbara Novak"
|
In this long, single-shot monologue (partially quoted here), early 1960s female empowerment book author (Down with Love) Barbara Novak's (Renee Zellwegger) long convoluted explanation to men's lifestyle magazine "KNOW"'s star reporter and playboy Catcher Block (Ewan McGregor) (who had created a false alias as NASA astronaut Zip Martin in order to expose her fraudulent hypocrisy and humiliate her - and to seduce her) about her long quest to grab his attention and succeed with her own agenda: ("There is no Barbara Novak...And I didn't fall in love with Zip Martin. I fell in love with Catcher Block. And that was a year ago. Over three and a half weeks, I worked as your secretary. I don't expect you to remember me. I wasn't a blonde then. But you did ask me out. And it broke my heart to say no, but I loved you too much. I couldn't bear to become just another notch in your bedpost. With your dating habits, I knew that even if I was lucky enough to get a regular spot on your rotating schedule, I would never have your undivided attention long enough for you to fall in love with me. I knew I had to do something to set myself apart. I knew I had to quit my job as your secretary and write an international best-seller controversial enough to get the attention of a New York publisher as well as "KNOW" magazine... Then you, the great Catcher Block, would know that you'd been beaten at your own game by me, Nancy Brown, your former secretary. And I would have, once and for all, set myself apart from all the other girls you've known, all those other girls that you never really cared about, by making myself someone like the one person you really love and admire above all others: you. Then, when you realized that you had finally met your match, I would have at last gained the respect that would make you wanna marry me first and seduce me later") |
|
Gigli (2003)
A Vagina Monologue
|
Jennifer Lopez as Ricki -
a lesbian-leaning ("clam-licker") hitwoman compared the relative merits and attractiveness of the male and female sex organs during a 3-minute debate-argument with dim-witted chauvinistic mobster Larry Gigli (Ben Affleck), while she performed yoga in blue spandex shorts. She offered a monologue of her description of the real power in the world (her vagina) when she told him the penis was overvalued: ("And now, as far as your famous penis goes, the penis is like some sort of bizarre sea
slug or like a really long toe, I mean it's handy, important even. But the pinnacle of sexual design, the top of the list of erotic destinations? I don't think so. One's first impulse is to kiss what? To kiss the lips. Firm, delicious lips, sweet lips surrounding a warm, moist, dizzingly-scented mouth. That's what everyone wants to kiss. Not a toe. Not a sea slug. A mouth. And why do you think that is, stupid? Because the mouth is the twin sister, the almost exact look-alike of what? Not the toe. The mouth is the twin sister of the vagina. And all creatures big and small seek the orifice, the opening, to be taken in, engulfed, to be squeezed, lovingly crushed by what is truly the all-powerful, all-encompassing -- no, if it's design you're concerned with, hidden meaning, symbolism, power. Forget the top of Mount Everest, forget the bottom of the sea, the moon, the stars, there is no place nowhere that has been the object of more ambitions, more battles than the sweet sacred mystery between a woman's legs that I am proud to call my pussy. So I guess this is just my roundabout way of saying that it is women who are in fact the most desirable form") |
|
Love Actually (2003)
"Love
Actually is All Around"
|
The British Prime Minister's
(Hugh Grant) voice-over credits prologue, delivered with views of
the arrivals terminal at London's Heathrow Airport where people
are greeting each other, hugging and kissing: ("Whenever I
get gloomy with the state of the world, I think about the arrivals
gate at Heathrow Airport. General opinion's starting to make out
that we live in a world of hatred and greed, but I don't see that.
It seems to me that love is everywhere. Often it's not particularly
dignified or newsworthy, but it's always there - fathers and sons,
mothers and daughters, husbands and wives, boyfriends, girlfriends,
old friends. When the planes hit the Twin Towers, as far as I know,
none of the phone calls from the people on board were messages of
hate or revenge - they were all messages of love. If you look for
it, I've got a sneaky feeling you'll find that love actually is
all around.") |
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BEST FILM SPEECHES AND MONOLOGUES