Highlights
IT: Welcome to Derry Season 1 - The Finger Is Never a Good Sign Clip
IT: Welcome to Derry
The Dinosaurs Season 1 - Ankylosaurus vs. T-Rex Clip
The Dinosaurs
Avatar: Fire and Ash - European Premiere Clip
Avatar: Fire and Ash
Preschool - Josh Duhamel, Michael Socha, Antonia Thomas, Charity Wakefield and Fenella Woolgar
Preschool
Pretty Lethal - Beyond Stage Fright Clip
Pretty Lethal
Fuze - Official Poster
Fuze
Hero Fiennes Tiffin Exclusive Interview - Young Sherlock
Young Sherlock
Mortal Kombat II - Official Cast Poster
Mortal Kombat II
Rental Family - Scoring a Family Clip
Rental Family
The Devil Wears Prada 2 - Official Poster
The Devil Wears Prada 2
Noah Wyle Wins at the 32nd Annual Actor Awards - The Pitt
The Pitt
Lanterns Season 1 - Aaron Pierre and Kyle Chandler
Lanterns
Zootopia 2 - Official Teaser Clip
Zootopia 2
Scarpetta Season 1 - Simon Baker as Benton Wesley
Scarpetta

Garret DillahuntQuotes

Garret Dillahunt
Birthday
November 24th, 1964
From
Castro Valley, California, USA
Actor

The Last House on the Left - Choosing Between Options in a Critical Moment

Krug: You ready to be a man?
Justin: What?
Krug: [referring to the girls] Pick one. Or both.

The Last House on the Left - Unexpected Potential in Adversity

Sadie: Thanks for being so cooperative, Mari.
Mari: What good would it do me not to be?
Sadie: [turns to Krug] I always took your kind to be whiny little fucking bitches born with silver spoons up their asses. But you, I think maybe there's hope for you, Mari. I don't know, Krug. I think Mari here has some potential you should consider. Krug, what do you think?
Krug: I think she's been a cool customer, ever since the motel.

The Last House on the Left - Consequences of Selfish Decisions in Relationships

Justin: [to Mari] Sorry, they weren't supposed to be back.
Krug: What? That's your excuse?
Justin: Sorry.
Krug: [sitting next to Justin] Justin, you gotta start putting other people's needs ahead of your own. You knew not to bring anybody back here, but you did it anyway, didn't you?
Justin: Yeah, because...
Krug: [imitating Justin] You guys weren't supposed to be here! Blah blah blah blah. But you did it. It can't be undone. Now you got to take responsibility for that action. It's as simple as that. You know how we do that?

The Last House on the Left - A Tense Request for Departure

Paige: Okay, so can we please just go now?
Francis: [holding a knife to her] Aw, Paige...
Paige: Please!
Sadie: Do you not like us, Paige?
Krug: I'm sorry, ladies... We just can't risk it.
Paige: [turns to Mari] What? No! No, but... Wh-why can't you just... "Please, just let us go!?
Mari Collingwood: [Paige breaks free from Francis, and locks herself in the bathroom] Paige, just stay calm- Paige!
Francis: Damn it!

The Last House on the Left - Facing Consequences of Their Actions

Justin: [Krug punches him in the stomach] Dad, what is-?
Krug: [throws a newspaper at him] We made the first page, that's what's going on! We figured they'd have my face on there sooner or later. Now they got Sadie's to boot. Can you believe it, Paige? Mari?

The Last House on the Left - A Conversation on Understanding and Vocabulary

Justin: Dad, look, I was just trying to liquidate some of the-
Krug: Liquidate. Wow. Is that my word or yours?
Justin: Mine... but... am I wrong?
Krug: No, Justin, you're not wrong.

The Last House on the Left - Reflections on Life and Death

Sadie: I think he's dying now. What do you think he's seeing?
Krug: [shows Morton a picture of his daughters] Something he'll never see again.

The Last House on the Left - A Dark Conversation About Prayer and Fate

Morton: Praying now?
Krug: Oh Lord! Won't you grant me an empty mayonnaise jar to piss in.
Morton: You know Krug, considering the rather notorious nature of the prison you're headed to, I think I'd pray for something a little more substantial.

The Last House on the Left - A Disturbing Encounter at the Whorehouse

Morton: [telling joke to Giles] So the next week, he's even hornier. And this time, he's got twenty bucks instead of ten. He goes back to the whorehouse, he slaps down the twenty, and tells the madam he needs to get off, but he ain't going to screw no goddamn chicken this time. She says it still ain't much, but she can help. She tells him to go to the room at the top of the stairs. This time there's just a bunch of guys jerking off, but one of the jerk off guys assures him "Oh hey, it's cool, it's cool" and he waves him over to this whole toilet they're all looking through-
Krug: Oh, can we stop please? I really gotta take a piss.
Morton: [hostile] Fuck you.

The Last House on the Left - Expectation of Resistance

Krug: I'd expect a lot more fight outta you, John.

The Last House on the Left - The Dynamics of Blame and Betrayal

Krug: [to John] What are the odds, man? Of course your little girl had a lot to do with it. You should be proud. How'd you make us, anyway? Did my fucking kid rat us out? That's it, isn't it? My fucking kid! Figured out who you were and blabbered his brains. Hey, by the way, y'all did a bang up job on my brother. He is really fucking dead down there!

The Last House on the Left - Confrontation with Unknown Assailants

Krug: [after being attacked by John and Emma] Who are you crazy fucks?!

The Last House on the Left - A Warning to Remain Silent

Krug: [to Justin] You keep your mouth shut, you hear me? Don't you fuck up again.

The Last House on the Left - A Missed Opportunity in Life

Krug: [to Justin, after raping Mari] You missed out.

The Last House on the Left - Appreciation for Innocence and Beauty

Krug: [about Mari and Paige] These are two lovely girls, Justin.

Winter's Bone - Confrontation Over Accountability and Reputation

Sheriff Baskin: I didn't shoot the other night cuz you were there in the truck. He never backed me down.
Ree: It looked to me like he did.
Sheriff Baskin: Don't you let me hear that's a story gettin around.
Ree: I don't talk much about you, man. Ever.

The Road - Confrontation Over Firearm Use

Gang Member: [seeing the revolver pointed at him] You ain't gonna shoot that thing. Ain't got but two shells, maybe one. And they'll hear the shot.
Man: Maybe. But you won't.
Gang Member: You a doctor?
Man: I'm not anything.
Gang Member: We got a hurt man. Be worth your while.
Man: You look at him again, I'll shoot you in the head.
Gang Member: That boy looks hungry. Why don't ya'll come on to the truck? Get you somethin to eat? Don't need to be such a hardass.
Man: You don't have anything to eat.
Gang Member: You know what I think? I think you're chickenshit. You never killed a man in your life.
Man: [to the Boy] Come on. Let's go.
Gang Member: I ain't goin nowheres.

No Country for Old Men - Frustration in the pursuit of justice

Sheriff Ed Tom Bell: Aw, now that's aggravatin'.
Deputy Wendell: Sheriff?
Bell: [Gestures to a bottle of milk on the coffee table] Still sweatin'.
Wendell: Oh, Sheriff! We just missed him! We gotta circulate this, on radio!
Bell: Alright. Then what do we circulate? Lookin for a man who's recently drunk milk?
Wendell: Oh, Sheriff, that's aggravatin'.
Bell: I'm ahead of you, there.
Wendell: You think this boy Moss has got any notion of the sorts of sons of bitches that're on him?
Bell: I don't know, he ought to. He's seen the same things I've seen, and it's certainly made an impression on me.

The Assassination of Jesse James by the Coward Robert Ford - The Changing Nature of Perception and Awareness

Jesse James: You ever count the stars? I can't ever get the same number, they keep changin on me.
Ed Miller: I don't even know what a star is, exactly...
Jesse James: Well, your body knows, it's your mind that forgot.

The Assassination of Jesse James by the Coward Robert Ford - The Power of Words and Perception

Ed Miller: I was with a girl once. Wasn't a squaw, but she was purty. She had yellow hair, like uh... oh, like something.
Dick Liddil: Like hair bobbed from a ray of sunlight?
Ed Miller: Yeah, yeah. Like that. Boy, you talk good.
Dick Liddil: You can hide things in vocabulary.
Ed Miller: Maybe you and me could write her a note, send it by post?
Dick Liddil: See, all you gotta do, Ed, is predict her needs and beat her to the punch.
Ed Miller: Well, this girl, she had a real specific job.
Dick Liddil: Specific?
Ed Miller: We's only together once. She's afraid of lightning. She came up into the wagon and just cuddled right up to me. She gave me a kind price, too.
Dick Liddil: Well I'll be! That is specific.
Ed Miller: Yeah, sure, she been with other people. But the kinds of things she said to me, people just don't say unless they really mean it.
Dick Liddil: [[Catullus|My love said she would marry only me, and Jove himself could not make her care, for what women say to lovers, you'll agree, one writes on running water, or on air.] ]
Ed Miller: My God that's good. Let's write her that.
Dick Liddil: Naw. Poetry don't work on whores.

12 Years a Slave - A Request for Trust and Assistance

Solomon Northup: [Solomon awakens Armsby in the middle of the night. He offers him a handful of coins] The proceeds of my fiddling performances. A few picayunes, but all I have in the world. I promise them to you if you will do me the favor I require. But I beg you not to expose me if you cannot grant the request.
Armsby: What do you ask?
Solomon Northup: First, your word, sir.
Armsby: On my honor.
Solomon Northup: It is a simple enough request. I ask only that you deposit a letter in the Marksville post office. And that you keep the action an inviolable secret forever. The details of the letter are of no consequence. Even at that, there would be an imposition of much pain and suffering were it known I was the author. A patron is what I require, sir.
Armsby: Where is the letter now?
Solomon Northup: It is not yet written. I will have it in a day. Two at most, my skill with composition as poor as it is.
Armsby: I will do it. And will accept whatever payment is offered.