The 'Dead' films allow me to talk about things that a drama, say, won't. 'Dawn Of The Dead,' which was set in a shopping mall, is on one level about consumerism; 'Land Of The Dead' is a response to Bush.
Dead people never seem to address the obvious - the things you'd think they'd be bursting to talk about, and the things all of us not-yet-dead are madly curious about. Such as: 'Hey, where are you now? What do you do all day? What's it feel like being dead? Can you see me? Even when I'm on the toilet? Would you cut that out?'
Women hope that the dead love may revive; but men know that of all dead things none are so past recall as a dead passion.
I'm not really allowed to talk about the Dead though. I think when we are at our best, we definitely do things that the Dead or no other band could do. We explore things and take things to the extreme.
Listen, you ignorant hillbillies, Lynyrd Skynyrd's dead. They're dead, they're dead, they're dead. The South's not risin' again. The slaves have been emancipated.
The border between the dead and the living, if you're Mexican, doesn't exist. The dead are part of your life. Like my dad, who's not here, but he's here.That's why there's the Day of the Dead. There's such a connection with the dead.
To show you how radical I am, I want carjackers dead. I want rapists dead. I want burglars dead. I want child molesters dead. I want the bad guys dead. No court case. No parole. No early release. I want 'em dead. Get a gun and when they attack you, shoot 'em.
'Graveminder' is about a mortician, a young woman with commitment issues, a dead teenager, and a town called Claysville where the dead don't always stay dead.
Goth is dead, punk is dead, and rock n' roll is dead. Trends are dead. Nothing exists anymore because the world is spinning faster than any trend.
A fearful instance of the ill consequences attending upon irascibility - alive, with the qualifications of the dead - dead, with the propensities of the living - an anomaly on the face of the earth - being very calm, yet breathless.
When you're late in a fairy tale, people wind up dead. And not true-love's-kiss, glass-coffin-nap-time dead. Really dead, the kind of dead you don't recover from.
'Night of the Living Dead,' then 'Dawn of the Dead' is a few weeks later, 'Day of the Dead' months later, and 'Land of the Dead' is three years later. Each one spoke about a different decade and was stylistically different.
Dakota tribal wisdom says that when you're on a dead horse, the best strategy is to dismount. Of course, there are other strategies. You can change riders. You can get a committee to study the dead horse. You can benchmark how other companies ride dead horses. You can declare that it's cheaper to feed a dead horse. You can harness several dead horses together. But after you've tried all these things, you're still going to have to dismount.
Richard exhaled. It was like somebody sprinkling pepper on his wound: Thousands of Biafrans were dead, and this man wanted to know if there was anything new about one dead white man. Richard would write about this, the rule of Western journalism: One hundred dead black people equal to one dead white person.
Whoo-hoo-hoo, look who knows so much. It just so happens that your friend here is only MOSTLY dead. There's a big difference between mostly dead and all dead. Mostly dead is slightly alive. With all dead, well, with all dead there's usually only one thing you can do. Go through his clothes and look for loose change.
Who knows if to live is to be dead, and to be dead, to live? And we really, it may be, are dead; in fact I once heard sages say that we are now dead, and the body is our tomb.