Inigo: Hello, my name is Inigo Montoya. You killed my father. Prepare to die!
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Wesley: "To the pain" means the first thing you lose will be your feet below the ankles. Then your hands at the wrists, next your nose.
Humperdink: And then my tongue, I suppose, I killed you too quickly the last time, a mistake I don't mean to duplicate tonight.
Wesley: I wasn't finished! The next thing you lose will be your left eye, followed by your right.
Humperdink: And then my ears, I understand! Let's get on with it!
Wesley: WRONG! Your ears you keep and I'll tell you why. So that every shreik of every child at seeing your hideousness will be yours to cherish. Every babe that weeps at your approach, every woman who cries out "dear God, what is that thing?" will echo in your perfect ears. That is what "the pain" means. It means I leave you in anguish. Wallowing in freakish misery forever.
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Miracle Max: To the winch you wench!
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Tank Girl: You gotta think about it like the first time you got laid. You gotta go: "Daddy, are you sure this is right?"
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Gigolo Joe: I know women! They sometimes ask for me by name. I know all about women. About as much as there is to know. No two are ever alike, and after they've met me, no two are ever the same!
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Keating: Now I'd like you to step forward over here. They're not that different from you, are they? Same haircuts. Full of hormones, just like you. Invincible, just like you feel. The world is their oyster. They believe they're destined for great things, just like many of you, their eyes are full of hope, just like you. Did they wait until it was too late to make from their lives even one iota of what they were capable? Because, you see gentlemen, these boys are now fertilizing daffodils. But if you listen real close, you can hear them whisper their legacy to you. Go on, lean in. Listen, you hear it? --- Carpe --- hear it? --- Carpe, carpe diem, seize the day boys, make your lives extraordinary.
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Todd: Truth is like a blanket that always leaves your feet cold. You push it, stretch it, it'll never be enough. Kick at it, beat it, it'll never cover any of us. From the moment we enter crying, to the moment we leave dying, it'll just cover your face as you wail and cry and scream.
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(CAN'T BELIEVE I FORGOT BATEMAN)
Patrick Bateman: Do you like Phil Collins? I've been a big Genesis fan ever since the release of their 1980 album, Duke. Before that, I really didn't understand any of their work. Too artsy, too intellectual. It was on Duke where, uh, Phil Collins' presence became more apparent. I think Invisible Touch was the group's undisputed masterpiece. It's an epic meditation on intangibility. At the same time, it deepens and enriches the meaning of the preceding three albums. Christy, take off your robe. Listen to the brilliant ensemble playing of Banks, Collins and Rutherford. You can practically hear every nuance of every instrument. Sabrina, remove your dress. In terms of lyrical craftsmanship, the sheer songwriting, this album hits a new peak of professionalism. Sabrina, why don't you, uh, dance a little. Take the lyrics to Land of Confusion. In this song, Phil Collins addresses the problems of abusive political authority. In Too Deep is the most moving pop song of the 1980s, about monogamy and commitment. The song is extremely uplifting. Their lyrics are as positive and affirmative as, uh, anything I've heard in rock. Christy, get down on your knees so Sabrina can see your ass. Phil Collins' solo career seems to be more commercial and therefore more satisfying, in a narrower way. Especially songs like In the Air Tonight and, uh, Against All Odds. Sabrina, don't just stare at it, eat it. But I also think Phil Collins works best within the confines of the group, than as a solo artist, and I stress the word artist. This is Sussudio, a great, great song, a personal favorite.
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Patrick Bateman: There is an idea of a Patrick Bateman; some kind of abstraction. But there is no real me: only an entity, something illusory. And though I can hide my cold gaze, and you can shake my hand and feel flesh gripping yours and maybe you can even sense our lifestyles are probably comparable... I simply am not there
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Patrick Bateman: He was into that whole Yale thing.
Donald Kimball: Yale thing?
Patrick Bateman: Yeah, Yale thing.
Donald Kimball: What whole Yale thing?
Patrick Bateman: Well, he was probably a closet homosexual who did a lot of cocaine. That whole Yale thing.
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ATM Machine: Feed me a stray cat.
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Patrick Bateman: Do you like Huey Lewis and the news?
Paul Allen: They're OK.
Patrick Bateman: Their early work was a little too new wave for my tastes, but when Sports came out in '83,I think they really came into their own, commercial and artistically. The whole album has a clear, crisp sound, and a new sheen of consimante professionalism that really gives the songs a big boost. He's been compared to Elvis Costello, but I think Huey has a far much more bitter, cynical sense of humour.
Paul Allen: Hey Halberstram.
Patrick Bateman: Yes, Allen?
Paul Allen: Why are their copies of the style section all over the place, d-do you have a dog? A little chow or something?
Patrick Bateman: No, Allen.
Paul Allen: Is that a rain coat?
Patrick Bateman: Yes it is! In '87, Huey released this, Fore, their most accomplished album. I think their undisputed masterpiece is "Hip to be Square", a song so catchy, most people probably don't listen to the lyrics. But they should, because it's not just about the pleasures of conformity, and the importance of trends, it's also a personal statement about the band itself.
[raises axe above head]
Patrick Bateman: Hey Paul!
[he bashes Allen in the head with the axe, and blood splatters over him]
Patrick Bateman: TRY GETTING A RESERVATION AT DORSIA NOW YOU FUCKING STUPID BASTARD! YOU, FUCKING BASTARD!
I have nothing else to contribute...
