Top 1200 Movie Lines Quotes & Sayings

I watched The Muppet Movie obsessively. I can still pretty much say a lot of the lines and do a pretty mean Fozzie Bear.

In this age, I don't care how tactically or operationally brilliant you are, if you cannot create harmony - even vicious harmony - on the battlefield based on trust across service lines, across coalition and national lines, and across civilian/military lines, you need to go home, because your leadership is obsolete. We have got to have officers who can create harmony across all those lines.

People quote lines to me all the time. I'm always surprised - everybody has a favorite movie, and they're always different. I'm always shocked. People stop me on the street and throw lines at me from 'Tales from the Crypt: Demon Knight' and 'Deep Space Nine.' 'Shawshank' happens a lot because they play it so much on TV.

I think if a writer is not endeavoring to expand and alter consciousness in himself and in his readers, he is not doing much of anything. It is precisely words, word lines, lines of words and images, and associations connected with these word and image lines in the brain, that keep you in present time, right where you are sitting now.

As a young actor, I booked a movie in the U.S. I didn't speak any English at the time, so I learned my lines phonetically when I auditioned for it.

I think the approach of the character for us is the same in a silent movie as in a talking movie because we had balance, we had lines to learn.

I think it's important to have open lines of communication and I think the best lines of communication are two-way lines.

As full lines of battle could not be handled through the thick wood, I ordered the advance of the six brigades by heavy skirmish lines, to be followed by stronger supporting lines.

There are no chords in modernist architecture, only lines - lines that may come to an end, but that achieve no closure

Sometimes the lines in a song are lines you wish you could text-message somebody in real life.

I did my first movie, 'The Mambo Kings,' in America without speaking the language. I learned the lines phonetically. I had an interpreter actually just to understand directions from my director.

I've never crossed over to be a big star. I'd like to be in a big $100 million movie, though. 'Cause I was in an 'Austin Powers,' I think I had two lines, and every once in a while, I get a check, a really nice check, for that movie.

As my mom always said, 'You'd rather have smile lines than frown lines.'

I went back to China and did a movie in Mandarin, and I don't speak Mandarin, so I learned it phonetically. Now, when I'm on set and somebody gives me English lines, I'm like, "Are you kidding? What's happening? This is amazing!"

The meaning of a poem is in the cadences and the shape of the lines and the pulse of the thought which is given by those lines.

I like the idea of doing a little movie every week. When you do a movie, you don't know when it's going to come out. In a year, you forget about it. I forget stories that happened on set. I forget who I worked with. I forget my lines, my characters' names. This is so fresh. We make it, and it's on TV. It feels more like a living, breathing thing.

Nature creates curved lines while humans create straight lines.

I do tend to take lines from other lines I like, and then write around them.

The Nazis, for him, are merely available movie tropes--articulate monsters with a talent for sadism. By making the Americans cruel, too, he escapes the customary division of good and evil along national lines, but he escapes any sense of moral accountability as well. In a Tarantino war, everyone commits atrocities. Like all the director's work after 'Jackie Brown,' the movie is pure sensation. It's disconnected from feeling, and an eerie blankness--it's too shallow to be called nihilism--undermines even the best scenes.

I came to the destruction of volume by the use of the plane. This I accomplished by means of lines cutting the planes. But still, the plane remained too intact. So I came to making only lines and brought the colour within the lines. Now the only problem was to destroy these lines also through mutual oppositions.

Being a movie star is stressful as hell. You've got to do crunches all day long. You've got to get up and learn lines.

One thing I've really never had a problem with was memorizing lines. Most of the time I don't memorize the lines until we're on the set shooting the scene.

'Rocky' is a movie that just happens to be about boxing. It's really about characters and story lines and relationships and all those things, and the backdrop is boxing. You can go back and watch the final fight in 'Rocky' a thousand times. If you dig that movie, if you like the characters, you'll watch the whole movie over and over.

[Barack] Obama can draw lines for himself and his country, not for other countries. We have our red lines, like our sovereignty, our independence, while if you want to talk about world red lines, the United States used depleted uranium in Iraq, Israel used white phosphorus in Gaza, and nobody said anything. What about the red lines ? We don't see red lines. It's political red lines.

Sometimes in a movie, the lines are so perfect.

When I auditioned for 'Pitch Perfect,' I didn't know it was a singing movie. I didn't read the script. I go to the audition, and I'm like, 'Oh, it's a baseball movie.' But then I'm reading the lines, and I'm like, 'This doesn't seem like a baseball movie.'

I watched 'The Muppet Movie' obsessively. I can still pretty much say a lot of the lines and do a pretty mean Fozzie Bear.

Those of us raised in modern cities tend to notice horizontal and vertical lines more quickly than lines at other orientations. In contrast, people raised in nomadic tribes do a better job noticing lines skewed at intermediate angles, since Mother Nature tends to work with a wider array of lines than most architects.

What's the Future? It's a blank sheet of paper, and we draw lines on it, but sometimes our hand is held, and the lines we draw aren't the lines we wanted.

If there's a movie of Neuromancer, what I really want the special effects guys to do is make you see, from Case's point of view, the little acid giggies: the little lines and trails coming off of things.

I stick to the script, I memorize the lines, cause life is movie that I've seen too many times.

I think acting, oftentimes it's not about lines, it's about spaces in between lines and expressions on people's faces and their relationships. You can tell your own story, or a story that you're interested in, even if the lines don't necessarily point you in that direction.

Some people become so expert at reading between the lines they don't read the lines.

When I saw my first movie, I was fine, but I thought, "Oh, my heavens. It's not about just standing there on my mark and saying these lines. I need to actually act."

I remember when I got my first opportunity to work in America, I didn't speak a lot of English, so I only really knew my lines for the movie I was doing.

In editing, you really face what the movie is. When you shoot it, you have this illusion that you're making the masterpieces that you're inspired by. But when you finally edit the movie, the movie is just a movie, so there is always a hint of disappointment, particularly when you see your first cut.

There are certainly moments in the story room where you watch the movie die on the table. You put A next to B, and suddenly none of it lines up anymore. We feel that all the time. It's a terrible feeling.

I did my first movie, "The Mambo Kings," in America without speaking the language. I learned the lines phonetically. I had an interpreter actually just to understand directions from my director.

And why? Because they are suffocating within the lines that define their town and their times. And sometimes lines are made to be crossed.

In this age, I don't care how tactically or operationally brilliant you are: if you cannot create harmony - even vicious harmony - on the battlefield based on trust across service lines, across coalition and national lines, and across civilian/military lines, you need to go home, because your leadership is obsolete.

Working on a movie like 'Prince of Persia' was awesome. It was great fun to be an action hero and to jump around, running off walls and fighting and having great quippy lines.

They do the soaps differently in Mexico. You just have to know the storyline and not memorize the lines. There would be someone feeding you lines while you were performing.

Practice your improv more than learn your lines. 'Cause there's no way you'll be able to learn all those lines in a short time. You have to realize what you know and what you don't know - and what you don't know, just come up with three alternate lines or improv that you can put in that spot.

For you, it's a silent movie. For us, it's a talking movie because we had lines on set. There's a lot of noise on set and music. We spoke in English, in French, in gibberish, but it was very alive. The challenge was tap dancing.

The more lines I have, in general, the worse a movie is. It's very rare that I get say great things in fantastic movies. So if you see me as like, number one on a call sheet? In general, that movie is pretty bad.

If we wish to count lines of code, we should not regard them as "lines produced" but as "lines spent."

I did some writing for that movie. The remake of Planet of the Apes. I didn't write the script. But I wrote some lines that they ended up... not using. ... I wrote one line. I thought it would've been perfect. I don't know if anyone saw the movie. It's the scene where the ape general comes in. And they're trying to decide if they should attack right there, or wait until a little later. And I wrote: "Man these bananas are good!" But they didn't use it. I did all of that research.

Get the few main lines and see what lines they call out.

I learned English kind of late. I remember when I got my first opportunity to work in America, I didn't speak a lot of English, so I only really knew my lines for the movie I was doing.

At one time, I would actually ride around to movie theaters to check the lines.

A good movie is a movie that you could see over and over again, not a movie that wins a Oscar, or a movie that makes a lot of money. It's a movie that you personally can watch over and over again. That, to me, is a measure of a good movie.

You know, OJ was a really nice guy, and he knew his lines. He was nice to everybody on the set. He got to be a better actor, I thought, with every movie.

I've always been - as a teacher, as graduate student, as a student, and I think, really, as a child - I've been interested in poems, but not so much for what the take home pay is, what you might sum up from them in moral or intellectual terms or whatever, but what's in the certain lines and how lines relates to other lines.

Today we live in a chaos of straight lines, in a jungle of straight lines. If you do not believe this, take the trouble to count the straight lines which surround you. Then you will understand, for you will never finish counting.

The idea was to take fine art and put it into the location of the movie scripts. The script itself is collage - some of the lines come from actual movies and I've written others to make the text work with the found image. In this way, the details of old dead guys' paintings (from the collection of the Städel Museum in Frankfurt, where this work will be exhibited in relation to the historical paintings) become illustrations of the movie scripts. I found this mélange of high art and Hollywood amusing.

Sometimes I feel as if we are all trapped in a movie. We know our lines, where to walk, how to act, only there is no camera. Yet, we can't break out of the movie. And it's a bad one.

'No one sits Baby in a corner,' one of the best lines in movie history.

For me the writing, when I'm going to direct it myself, is really just the first draft, and I don't change it very much; I only change it on average about two lines per movie.

So you think the best way to prepare kids for the real world is to bus them to a government institution where they're forced to spend all day isolated with children of their own age and adults who are paid to be with them, placed in classes that are too big to allow more than a few minutes of personal interaction with the teacher-then spend probably an hour or more everyday waiting in lunch lines, car lines, bathroom lines, recess lines, classroom lines, and are forced to progress at the speed of the slowest child in class?

I have got lines on my forehead, so be it, the laugh lines add to my personality.