Dead Again - The Role of Fate in Human Relationships
Pete:
I've known Mike Church forever. He would never hurt her.
Franklyn Madson:
This is fate we're talking about, and if fate works at all, it works because people think that this time, it isn't going to happen!
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Dead Again - Memories of Family and Historical Figures
Franklyn Madson:
You were inside President Roosevelt's office?
Mrs. Tupper: [''under hypnosis, in a child's voice''; ''giggles'']
Yes. Lots of times. My mommy was his cook. Yeah, we were like family. I used to sit on Uncle Teddy's lap. I liked that!
Franklyn Madson:
I'm sure Uncle Teddy did, too.
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Love Is the Devil: Study for a Portrait of Francis Bacon - Confronting the Weight of the Past
Francis Bacon:
Look, why don't you just go, George. I got to get on with this.
George Dyer:
I'm going, I... I'm going. Anyway, when you gave me the keys, it was meant to mean I could live here.
Francis Bacon:
What's past is past.
George Dyer:
You call yesterday the past?
Francis Bacon:
George, I am a painter! This is a studio! That is a painting! You are in the way!
George Dyer:
But it's a painting of me! Or anyone would bloody well notice.
Francis Bacon:
Oh, well thank you for the critique, George! I feel much better! Now I know where I stand! Now, after that enlightening discussion, will you just piss off!
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Love Is the Devil: Study for a Portrait of Francis Bacon - Artistry and Suffering in Francis Bacon's Work
Francis Bacon: [to Rawsthorne]
It's like the floor in the Japanese pot, that's what makes it so superb. There's no beauty without the wound. Lucifer was the most beautiful angel, that was his fatal flaw. Too much like their creator, darling. I just like to make one picture that would annihilate all the rest. A violent fusion or the past or the present. Concentrated into a single, raw sliced open nerve.
Isabel Rawsthorne:
The portraiture of you're pain.
Francis Bacon: [laughs]
No.
Isabel Rawsthorne:
No. The tenderness is so visible in every brush stroke. The paintings of George are like exquisite love poems. That's the irony of the George pictures. I mean, you seem to put more into the work than into the relationship itself. And ultimately you suffer just as much.
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Love Is the Devil: Study for a Portrait of Francis Bacon - Love and Betrayal in Francis Bacon's Life
George Dyer:
What about Paris?! Am I still coming?!
Francis Bacon:
A man that killed the thing he loved and so he had to Dyer! Of course you're coming! You are the exhibition!
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Love Is the Devil: Study for a Portrait of Francis Bacon - The Complexity of Innocence and Amorality
Francis Bacon: [to Deakin]
George has qualities. A combination of amorality and innocence. And note that I say innocence and not ignorance.
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Love Is the Devil: Study for a Portrait of Francis Bacon - The Importance of the Figure in Art
Daniel Farson:
I'm Daniel Farson. Tonight, on Hungry Eye, it gives me great pleasure to welcome Britain's greatest living painter, Francis Bacon.
Francis Bacon:
Good evening.
Daniel Farson:
Francis Bacon, your work is known internationally as some of the most challenging and powerful of the post war years, you've resisted the abstract movements which have dominated those years and have championed the importance of the figure in modern art. Why is the figure so important to you?
Francis Bacon:
Well, its difficult to describe really. One can only talk about one's instincts and avoid the rest.
Francis Bacon: [on the TV]
I do it with a chance. Brush stroke, which locks the magic in place.
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Love Is the Devil: Study for a Portrait of Francis Bacon - Introductions Among Friends in a Bar
Francis Bacon:
Everybody, this is George. This is Muriel, Isabel, the beautiful Henrietta, and Deakin. Introduce yourselves. George is a little shy.
George Dyer:
Hello...
John Deakin:
So... who's Arthur and who's Martha?
Muriel Belcher:
Oh, piss off, Deakin! I'm really sick of it!
John Deakin:
I'll talk to you after you've had a shave...
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Love Is the Devil: Study for a Portrait of Francis Bacon - Measurements and Moods in a Tailoring Scene
Francis Bacon:
A man being measured for a suit is not the similar to his being measured for the old wooden box.
George Dyer:
It feels like a bloody coffin. It's fucking hot in here, Francis.
Francis Bacon:
Yes it is hot, George. Mr Dyer will arrange to collect the suit and I think we're going to have some shirts and some appropriate ties.
George Dyer:
Hold on! Hold on! Don't go over board. I mean, I feel so...
Francis Bacon:
So clothed?
George Dyer: [laughs]
You just don't care what people think, do you?
Francis Bacon:
Come on, I want you to meet my friends. Now, we can have a drink. God knows I need one.
George Dyer:
What? You're mates?
Francis Bacon:
The Colony is a refuge for lost souls, no longer in possession of living bodies.
George Dyer:
Can't we just go to the pub?
Francis Bacon:
No.
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Love Is the Devil: Study for a Portrait of Francis Bacon - Artistic Inspiration from Personal Connection
Francis Bacon: [to Dyer]
Our time together has given me a whole new energy. Not just for the work, but moment's like these. You may well become a subject for a painting.
George Dyer:
That would be fantastic. I always wanted a picture of me.
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Love Is the Devil: Study for a Portrait of Francis Bacon - Art and Perception of Value
George Dyer:
You actually make money out of painting?
Francis Bacon:
Mmm.
George Dyer:
Not something I ever really thought about. I mean, there were some pictures of my mum's but they weren't really for looking at, they were just... just sort of there.
Francis Bacon:
Yes. That is interesting, George.
George Dyer:
Nothing like your's, obviously.
Francis Bacon:
Obviously.
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Love Is the Devil: Study for a Portrait of Francis Bacon - A Tempting Proposition in the Night
Francis Bacon:
And who might you be? Well, you're not much of a burglar, are you?
Francis Bacon:
Take your clothes off, come to bed... and you can have whatever you want.
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Love Is the Devil: Study for a Portrait of Francis Bacon - The Struggle Between Art and Emotional Connection
Francis Bacon: [voice over]
This painful inability to sustain relationships. The selfishness my work demands leaves no room for an emotional self. Can tenderness ultimately only manifest itself in the motion of a brush? Even this remains invisible. The visceral reach, running fingertips along the curved notches of a spine. The line of a femur, the curl of tendon into muscle. The smell. To violate, to desecrate, to examine a person from the inside, eroticizing the white shirt cuff glimpsed beneath a dark suit. The girth, the solids, the sack of flesh, just offal bags. Ruminating intestines. Fine wines filled and swilled with rich food, trying to create some distance between myself and some dead lover.
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Love Is the Devil: Study for a Portrait of Francis Bacon - Loneliness and Desire in Francis Bacon's Reflection
Francis Bacon: [voice over]
What mad misfortunes make his eyes blaze with despair? I dream of some tough lover. Big as the Universe, his body blemished by shadows. He'll crush me, naked, in gloomy bars between his golden thighs. A mundane yob transformed into an archangel. Is my lover to be my assassin? Or I his? Loneliness - my only true companion - will always rival any lover. Its greedy desire... always drive a wedge between me and any contender for my company. And I question myself; do I possess some inner destructive demon?
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Love Is the Devil: Study for a Portrait of Francis Bacon - The Catharsis of Total Submission
Francis Bacon: [voice over]
Submitting entirely to the service and pleasure of the dominant partner. This I find a catharsis, in that all responsibility is relinquished, every move is dictated. No decisions are your own, who exists solely for the service and pleasure of another man.
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Love Is the Devil: Study for a Portrait of Francis Bacon - Powerless Observations of a Troubled Mind
Francis Bacon: [voice over]
I watch him while he's sleeping. A prisoner of dreams. Fighting the battle he's always going to lose. But I'm powerless to help him as I'm powerless to help myself. So I watch and wait.
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Love Is the Devil: Study for a Portrait of Francis Bacon - Real Friends and Sham Friends
Francis Bacon:
Champagne for my real friends, real pain for my sham friends.
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Nanny McPhee - The Misguided Advice on Parenting
Mr. Wheen:
(on the concept of his unruly children) We always told you, Mr. Brown...
Mr. Jowls:
It's not funerals you should be working with...
Cedric:
(nodding, miming along)
Both:
It's christenings! (uproarious laughter)
Cedric:
(sighs, before laughing along with them)
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Gladiator - Fear and Wonder in Roman Politics
Falco:
Games. One hundred and fifty days of games.
Gracchus:
He's cleverer than I thought.
Falco:
Clever"! The whole of Rome would be laughing at him, if they weren't so afraid of his Praetorian.
Gracchus:
Fear and wonder, a powerful combination.
Falco:
You really think people are going to be seduced by that?
Gracchus: [about Commodus]
I think he knows what Rome is. Rome is the mob. Conjure magic for them and they'll be distracted. Take away their freedom and still they'll roar. The beating heart of Rome is not the marble of the Senate, it's the sand of the Colosseum. He'll bring them death…and they will love him for it.
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Gladiator - Power and Responsibility in Leadership
Gracchus:
For you guidance, Caesar, the Senate has prepared a series of protocols, to begin addressing the many problems in the city, beginning with basic sanitation for the Greek quarter, to combat the plague which is already springing up there. So, if Caesar...
Commodus:
Shh. Don't you see, Gracchus? That's the very problem, isn't it? My father spent all his time at study, at books and learning and philosophy. He spent his twilight hours reading scrolls from the Senate. And all the while, the people were forgotten.
Gracchus:
But the Senate is the people, sire. Chosen from among the people, to speak for the people.
Commodus:
I doubt if any of the people eat so well as you do, Gracchus. Or have such splendid mistresses, Gaius. I think I understand my own people.
Gracchus:
Then perhaps Caesar will be so good as to teach us … out of his own, extensive experience.
Commodus:
I call it love. I am their father, the people are my children. I shall hold them to my bosom and embrace them tightly –
Gracchus:
Have you ever embraced someone dying of plague, sire?
Commodus:
No. But if you interrupt me again, I assure you that you shall.
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