These people actually think I have some kind of, uh... fantastic imagination. It gets very, uh, lonesome. So this is permanence; love-shattered pride.

I'm Not There. (2007)
Arthur: I accept chaos. I don't know whether it accepts me.

Billy the Kid: It's like you got yesterday, today and tomorrow, all in the same room. There's no telling what can happen.

Jude: Look at all these medicines! Hey man what are those?
Man At Party: Mandy's, make you sleep.
Jude: Sleep? aint sleepin'... Sleep's for dreamers. I haven't slept in thirty days, man. Takes a lot of medicine to keep up this pace.

Jude: God, I'm glad I'm not me.

Jude: Doesn't really matter, you know, what kind of nasty names people invent for the music. But, uh, folk music is just a word, you know, that I can't use anymore. What I'm talking about is traditional music, right, which is to say it's mathematical music, it's based on hexagons. But all these songs about, you know, roses growing out of people's brains and lovers who are really geese and swans are turning into angels - I mean, you know, they're not going to die. They're not folk music songs. They're political songs. They're already dead. You'd think that these traditional music people would - would gather that mystery, you know, is a traditional fact, you know, seeing as they're all so full of mystery.
Keenan Jones: And contradictions.
Jude: Yeah, contradictions.
Keenan Jones: And chaos.
Jude: Yes, it's chaos, clocks, and watermelons - you know, it's - it's everything. These people actually think I have some kind of, uh... fantastic imagination. It gets very, uh, lonesome. But traditional music is just, uh... it's too unreal to die. It doesn't need to be protected. You know, I mean, in that music is the only true valid death you can feel today, you know, off a record player. But like everything else in great demand, people try to own it. Has to do with, like, uh, the purity thing. I think its meaninglessness is holy. Everybody knows I'm not a folk singer.

Claire: I would like to know what is at the center of your world.
Robbie Clark: Well, I'm 22, I guess I would say me.

Billy the Kid: People are always talking about freedom. Freedom to live a certain way, without being kicked around. Course the more you live a certain way, the less it feel like freedom. Me, uhm, I can change during the course of a day. I wake and I'm one person, when I go to sleep I know for certain I'm somebody else. I don't know who I am most of the time.

Jude: [looking up at a giant Jesus on the cross] Do your early stuff!

Arthur: Seven simple rules of going into hiding: one, never trust a cop in a raincoat. Two, beware of enthusiasm and of love, both are temporary and quick to sway. Three, if asked if you care about the world's problems, look deep into the eyes of he who asks, he will never ask you again. Four, never give your real name. Five, if ever asked to look at yourself, dont. Six, never do anything the person standing in front of you cannot understand. And finlly seven, never create anything, it will be misinterpreted, it will chain you and follow you for the rest of your life.

Narrator: There he lies. God rest his soul, and his rudeness. A devouring public can now share the remains of his sickness, and his phone numbers. There he lay: poet, prophet, outlaw, fake, star of electricity. Nailed by a peeping tom, who would soon discover...
Jude: A poem is like a naked person...
Narrator: - even the ghost was more than one person.
Arthur: ...but a song is something that walks by itself.

Hobo Joe: [Woody shows Hobo Joe and Hobo Moe his guitar case which says 'THIS MACHINE KILLS FASCISTS'] You wouldn't be stashing no weapons in there, son?
Woody Guthrie: No sir, not in any literalized way.

Jude: People actually think I have some kind of a fantastic imagination. It gets very lonesome.

Control (2007)
Ian Curtis: When you look at your life, in a strange new room, maybe drowning soon, is this the start of it all?

Ian Curtis: So this is permanence; love-shattered pride. What once was innocence, has turned on its side.

Under the Tuscan Sun (2003)

Frances: I'll hire the muscular descendants of Roman gods to do the heavy lifting.

German Woman: You greedy Americans. You think you're so entitled. You ruin everything.
Frances: A lot of us feel really badly about that.

Frances: Do you know the most surprising thing about divorce? It doesn't actually kill you. Like a bullet to the heart or a head-on car wreck. It should. When someone you've promised to cherish till death do you part says "I never loved you," it should kill you instantly. You shouldn't have to wake up day after day after that, trying to understand how in the world you didn't know. The light just never went on, you know. I must have known, of course, but I was too scared to see the truth. Then fear just makes you so stupid.
Martini: No, it's not stupid, Signora Mayes. L'amore e cieco.
Frances: Oh, love is blind. Yeah, we have that saying too.
Martini: Everybody has that saying because it's true everywhere.

Martini: Signora. Please stop being so sad. If you continue like this, I will be forced to make love to you. And I've never been unfaithful to my wife.

Frances: What are four walls, anyway? They are what they contain. The house protects the dreamer. Unthinkably good things can happen, even late in the game. It's such a surprise.

Katherine: Regrets are a waste of time. They're the past crippling you in the present.

Martini: Signora, between Austria and Italy, there is a section of the Alps called the Semmering. It is an impossibly steep, very high part of the mountains. They built a train track over these Alps to connect Vienna and Venice. They built these tracks even before there was a train in existence that could make the trip. They built it because they knew some day, the train would come.

Patti: There's something strange about these trees. It's like they know.
Frances: And they know that we know that they know.
Patti: They're creepy. Creepy Italian trees. Of course, the baby's going to like them cause it's going to be a creepy Italian baby who goes around saying things like 'Ciao mama' and doing that weird backward hand wave thing. Life is strange.

Marcello: If you smash into something good, you should hold on until it's time to let go.

Unfortunetly I couldn't find too many quotes from Control, even though it's been hailed as the best movie to come out of England this year. Oh well, see it! See that and I'm Not here. Like all my blogs and blurbs and whatever I exceptionally appreciated these films cause in my rollercoaster-esk life with it's twists and turns I've been trying to come to terms with who I am. What my purpose is in this crazy cracked out world. Creating onseself and accepting things as how they are, how you express yourself and how that will be interpreted. All to often can you the artist recognize something as good but good in the sense that you like it and it expresses things in you. Your message like they say repeatedly in "I'm Not There" is not gonna change anything all it's gonna do if it can is give a take on what's going on in the world in a way that you wish you could. Again being that creative is lonely. It's a lonely path.

As a human theres this constant need for our human condition. Sharing things with each other, reaching out trying to find that comfort in a touch, in a grouping of words and phrases, in an embrace. Like it could ever be shared for more than a moment. When your an artist, and a good one at that. That Sharing becomes a broadcast. Suddenly the artist is a becan for expression and what started as mere self expression is now some kind of movement riddled with admiration without understanding. I don't pretend that I have even a little bit of the fame or talent of Joy Division or Bob Dylan. What I can say though is when you make the decision to push ahead and broadcast your message you leave yourself open for attack.

I watched a making of StarWars last night at 5 am. Couldn't sleep again. George Lucus was saying as soon as he knew that the first episode was a hit, it was time to get out of dodge, so he moved out to a ranch in San Fransico and kept with him only the closest friends he had. He was saying as much as a blessing to have this top grossing film it's like a cut off point for whether or not you get the freedom to meet people that are on the same plain of existence that your on. You could say that that element or idea is elitestness. You could say that. Like you make something that is critically acclaimed and then from that point on your better than everyone else. But I don't think that it is the artist that makes that distinction. I think they are. My family has a friend Olivia in Cyprus and the last time I saw her she said something that I thought was really wise. She said you don't need to have or be keeping people of less around you. Your never gonna become better that way. And it's hard cause you like people for a variety of reasons, but the ones that really humble you as a person are the only ones that matter.

So if you have friends that are funny, that's all fine and good, but if their humor isn't the kind that brings truth in a slam in the face type of way really you gotta move on. I threw Under the Tuscan Sun in as well cause it was just a feel good flick. Reminded me of A Good Year with Russel Crowe. All that off on your own trial by fire madness of wanting a romantic happily ever after stuff. Yes I watch chick flicks without chicks, and like them. Pathetic is the word your thinking of but I think it's a process. I have a little black kitten named tyler to keep me manly. ANyways thats all for now.