Johnny DeppQuotes

Benny: Hi, I'm Benny

Sam: With an N?

Benny: Yeah. Two of them. And this is Joon.

Sam: With an N?

Joon: One.

Joon: We have to tell him.

Benny: What? Tell me what?

Sam: Uh, Benny, Joon and uh and I are uh... you know.

Joon: You're out of your tree.

Sam: It's not my tree.

Sam: You don't like raisins?

Joon: Not really.

Sam: Why?

Joon: They used to be fat and juicy and now they're twisted. They had their lives stolen. Well, they taste sweet, but really they're just humiliated grapes. I can't say I am a big supporter of the raisin council.

Sam: Did you see those, those raisins on TV? The ones that sing and dance and stuff?

Joon: They scare me.

Sam: Yeah me too.

Joon: It's sick. The commercial people they make them sing and dance so people will eat them.

Sam: It's a shame about raisins.

Sam: Ruthie, do you got any avocados?

Sam: Oh, oh Benny, hey Benny, thanks for the couch... um Mike made me sleep under the sink.

Sam: You know, it seems to me that, I mean, except for being a little mentally ill, she's pretty normal.

Countess: [contemptuously; [drink] Anyone can ].

Rochester: Not many can match my determination.

Rochester: I don't mean to upset people, but I must speak my mind. For what's in my mind is far more interesting than what's outside my mind.

Alcock: Makes you impossible to live with, though. You see?

Rochester: [[spirit] There is ] in her.

Jane: When a gent sees the spirit, and not the eyes or the tits, then a gent is in trouble.

Rochester: This is your first season on the London stage?

Elizabeth Barry: It is, my lord.

Rochester: Mrs. Barry, you must acquire the trick of ignoring those who do not like you. In my experience, those who do not like you fall into two categories: The stupid and the envious. The stupid will like you in five years time. The envious, never.

King Charles II: Your father spirited me out of England when my life was at stake, so I looked after him and after you.

Rochester: You put me in the Tower.

King Charles II: [[time] And I let you out. The ] has come for you to pay your dues. People listen to you, Johnny. If you took your seat in the Lords, you could make great speeches that would influence events. Anyone can oppose, it's fun to be against things, but there comes a time when you have to start being for things as well.

Rochester: Did you miss me?

Jane: [[money] I missed the ].

Rochester: Good. I don't like a whore with sentiment.

Rochester: [[moral] And yet you do not draw the ] of the incident.

Billy Downs: Which is?

Rocheste:: That any experiment of interest in life will be carried out at your own expense. Mark it well.

Rochester: Here he lies at the last. The deathbed convert. The pious debauchee. Could not dance a half measure, could I? Give me wine, I drain the dregs and toss the empty bottle at the world. Show me our Lord Jesus in agony and I mount the cross and steal his nails for my own palms. There I go, shuffling from the world. My dribble fresh upon the bible. I look upon a pinhead and I see angels dancing. Well? Do you like me now? Do you like me now? Do you like me now? Do you like me... now?

Rochester: I shall never forgive you for teaching me how to love life.

Rochester: But life is not a succession of urgent nows. It's a listless trickle of why should I's.

Rochester: [[theatre; [drug] The ] is my ], and my illness is so far advanced that my physic must be of the highest quality.

Rochester: I wish to be moved. I cannot feel in life. I must have others do it for me in theater.

Rochester: When I wake in the country, I dream of being in London. When I get here, it's full of people like you. (Speaking of the Merry Gang)

Rochester: [[time; [modesty; [hope] Allow me to be frank at the commencement. You will not like me. The gentlemen will be envious and the ladies will be repelled. You will not like me now and you will like me a good deal less as we go on. Ladies, an announcement: I am up for it, all the ]. That is not a boast or an opinion, it is bone hard medical fact. I put it round you know. And you will watch me putting it round and sigh for it. Don't. It is a deal of trouble for you and you are better off watching and drawing your conclusions from a distance than you would be if I got my tarse up your petticoats. Gentlemen. Do not despair, I am up for that as well. And the same warning applies. Still your cheesy erections till I have had my say. But later when you shag – and later you will shag, I shall expect it of you and I will know if you have let me down – I wish you to shag with my homuncular image rattling in your gonads. Feel how it was for me, how it is for me and ponder. Was that shudder the same shudder he sensed? Did he know something more profound? Or is there some wall of wretchedness that we all batter with our heads at that shining, livelong moment. That is it. That is my prologue, nothing in rhyme, no protestations of ], you were not expecting that I ]. I am John Wilmot, Second Earl of Rochester and I do not want you to like me.

Red Hamilton: We don't work with people we don't know. And you don't work when you're desperate. Walter Dietrich. Remember that?

John Dillinger: Walter forgot. When you're desperate, that's when you got no choice.

John Dillinger: The only thing that's important is where somebody's going.

Billie Frechette: Where are you going?

John Dillinger: Anywhere I want.

Police Chief Fultz: How long does it take you to run through a bank?

John Dillinger: About 1 minute... 40 seconds... Flat

Melvin Purvis: What keeps you up nights, Mr. Dillinger?

John Dillinger: Coffee.

Billie Frechette: What do you want?

John Dillinger: Everything. Right now.

John Dillinger: Well, here's the man who killed Pretty Boy Floyd. Damn good thing he was pretty cause he sure wasn't Whiz-Kid Floyd.

John Dillinger: You wanna know if we're armed? We're armed.

John Dillinger: I was raised on a farm in Mooresville, Indiana. My mama died when I was three. My daddy beat the hell out of me cause he didn't know no better way to raise me. I like baseball, movies, good clothes, fast cars, whiskey, and you... what else you need to know?

John Dillinger: We're here for the bank's money, not yours. Put it away.

John Dillinger: We're having too good a time today. We ain't thinking about tomorrow.

George Jung: (last lines) In the end, was it worth it? Jesus Christ. How irreparably changed my life has become. It's always the last day of summer and I've been left out in the cold with no door to get back in. I'll grant you I've had more than my share of poignant moments. Life passes most people by while they're making grand plans for it. Throughout my lifetime, I've left pieces of my heart here and there. And now, there's almost not enough to stay alive. But I force a smile, knowing that my ambition far exceeded my talent. There are no more white horses or pretty ladies at my door.

George Jung: Throughout my lifetime I've left pieces of my heart here and there. And now, there's almost barely enough to stay alive. But I force a smile, knowing that my ambition far exceeded my talent.

George Jung: May the wind always be at your back and the sun upon your face. And may the wings of destiny carry you aloft to dance with the stars.

George Jung: I was busted. Set up by the FBI and the DEA. That didn't bother me. Set up by Kevin Dulli and Derek Forreal to save their own asses. That didn't bother me. Sentenced to 60 years at Ottisville. That didn't bother me. I'd broken a promise. Everything I love in my life goes away.

George Jung: You're my heart, kid. Now, can I live without my heart?

George Jung: The official toxicity limit for humans is between one and one and half grams of cocaine depending on body weight. I was averaging five grams a day, maybe more. I snorted ten grams in ten minutes once. I guess I had a high tolerance.

George Jung: It was the greatest feeling I ever had. Followed very abruptly by the worst feeling I ever had.

George Jung: ... maybe it was the Colombian guestlist... or the cocaine buffet...

George Jung: This is grade:A, 100% pure Colombian cocaine, ladies and gentlemen. Disco shit. Pure as the driven snow.

George Jung: The favor was to pick up fifty kilos of cocaine. Fifty. That's a hundred and ten pounds. Not exactly a small favor. Not like bumming a cigarette, for example. But what the hell. I didn't have anything better to do that day. It's not like I was on parole or anything.

George Jung: 15 kilos? I PISS 15 kilos.

George Jung: Danbury wasn't a prison, it was a crime school. I went in with a Bachelor of marijuana, came out with a Doctorate of cocaine.

George Jung: (to Judge) I crossed an imaginary line with a bunch of plants!

Frank: [as Tonto and John are running down on top of a moving train, they run into Frank at gunpoint] Going somewhere?

Tonto: Yes.

John Reid: [with chained hands in the air & connected to Tonto] No.

Tonto: Yes.

John Reid: No.

Tonto: Yes.

John Reid: No.

Frank: [shouting] Shut up!

Tonto: [after a pause, Tonto see a mail hook approaching; the mail hook snags John's chains and hauls him and Tonto off] Yes.

Tonto: [Shouting to John after he saved the passengers] Where is girl?!

Tonto: I do not fear what comes next.

Roux: I should probably warn ya: you make friends with us, you make enemies with everyone else.

Vianne: Is that a promise?

Roux: It's a guarantee.

Ed Wood: Listen, I was wondering if you'd like to go out some time. Grab some dinner, maybe.

Vampira: You mean a date? I thought you were a fag.

Ed: No, no. I'm just a transvestite.

Criswell: And who may you be?

Ed Wood: Edward D. Wood, Junior.

Criswell: Ah — the director of Glen or Glenda.

Ed: How'd you know?

Criswell: I am Criswell. I know all.

Ed Wood: [pauses to listen] So — we gonna be working together? Really? Worst film you ever saw. Well, my next one will be better. Hello. Hello?

Ed Wood: Bela, what's in the needle?

Bela Lugosi: Morphine. With a Demerol chaser.

Bunny Breckinridge: Guess where I'm going next week.

Ed Wood: I don't know. Where?

Bunny: Me-hee-co. Guess what I'm doing when I get there.

Ed: I don't know — lie on a beach.

Bunny: Wrong. I'm getting my first series of hormone injections. And when those girls kick in, they're gonna take out my organs and make me... a woman.

Ed: Are you serious?

Bunny: It's something I've wanted to do for a long time. But it wasn't until I saw your movie that I realized I have to take action! Goodbye, penis!

Dolores Fuller: Would you please keep it down?

Ed Wood: [over the phone] Georgie, what happened? I thought Glen or Glenda was opening this week! Where's the ads?

George Weiss: Where's the ads?" The ads are in Alabama, Indiana and Missouri, you schmuck! It ain't gonna play in L.A.!

Ed Wood: Why not?

George Weiss: Nobody wants to see this piece of shit!

Ed Wood: Hey, you can't talk that way about my movie!

George Weiss: [angrily hangs up] Your movie?! I wish it was your movie! I wish I had never blown every dime I ever made into making this stinkbomb! And if I ever see ya again, I'll kill ya!

Ed Wood: [[Citizen Kane] But, Georgie, I'm proud! I wrote, directed, and starred in it, just like Orson Welles did in ].

George Weiss: Yeah? Well, Orson Welles didn't wear angora sweaters, did he?

Brooks: You know which movie of yours I love, Mister Lugosi? The Invisible Ray. You were great as Karloff's sidekick.

Bela Lugosi: Karloff? Sidekick? FUCK YOU! Karloff does not deserve to smell my SHIT! That Limey cocksucker can rot in hell for all I care!

Ed Wood: W-what happened?

Bela: [imitates Frankenstein] How dare that asshole bring up Karloff? You think it takes talent to play Frankenstein? It's all, all makeup, and-and grunting. Grrr-Rrrr!

Ed: I agree, Bela. I agree a hundred percent. Now Dracula — there's a part that takes talent.

Ed Wood: Say, Bill, which dress works best for you, the red one or the green one?

Cameraman: Which one is the red one?

Ed Wood: What do you mean?

Cameraman: I mean I can't see the difference. I'm colorblind. But I kinda like the dark gray one.

Ed Wood: Everybody, we're about to embark on quite a journey: four days of hard work. But when it's over, we'll have a picture that'll entertain, enlighten, and maybe even move millions of people.

Bela Lugosi: Eddie, you got me a new picture, eh?

Ed Wood: [back on phone; hangs up] Yes. It's gonna be a great picture and you'll love your character. Have a seat. Listen, Bunny? Bela's here. I gotta go. Listen, work some parties, hit the bars, and get me transvestites! I need transvestites! All right. Bye.

Bela: Eddie... what kind of a movie is this?

Ed Wood: My gosh, Bela, how do you do that?

Bela Lugosi: You must be double-jointed. And you must be Hungarian.

Ed Wood: Oh, I hate it when she interrupts the picture. She doesn't show em the proper respect.

Bela Lugosi: I think she's a honey. Look at those jugs!

Weiss: So what was the important news you couldn't tell me on the phone, again?

Ed Wood: Well, I started thinking about how you said your movies needed to make a profit. Now, what is the one thing, if you put it in a movie, it'll be successful?

George Weiss: Tits.

Ed: No, better than that. A star!

Weiss: [[w:David O. Selznick|David Selznick] Kid, you must have me confused with ]. I don't make major motion pictures, I make crap.

Ed: Yes — but if you take that crap and put a star in it, then you've got something!

Weiss: Yeah. Crap with a star.

Ed: No, something better! Something impressive. Maybe the biggest money maker you've ever had.

Weiss: Fine, alright. You maybe right, but it doesn't frickin matter! I can't afford a star, so what are we even talking about?

Ed: Alright, what if I told you you could have a star for $1000?

Weiss: Who?

Weiss: Lugosi?

Ed: Yes, Lugosi!

Weiss: Isn't he dead?

Ed: No, he's not dead! He lives in Baldwin Hills. I met him recently, and he really wants to be in our movie.

Weiss: Why would Lugosi wanna do a sex-change flick?

Ed: Because he's my friend!

Weiss: All right, fine! You can direct it. I want a script in three days. We start shooting a week from Monday.

Ed: Oh... oh, Mister Weiss, thank you so much! You won't regret it! I won't let you down!

Ed Wood: Boy, Mister Lugosi, you must lead such an exciting life! When is your next picture coming out?

Bela: I have no next picture.

Ed: You gotta be joking. A big star like you? You must have dozens of em lined up.

Bela: In the old days, yes. Now, no one gives two fucks for Bela.

Bela Lugosi: I refuse to drive in this country. Too many madmen.

Ed Wood: Well... I have a car.

Ed Wood: Mister Lugosi, why are you buying a coffin?

Bela: I'm planning on dying soon.

Ed: No!

Bela: Yes. I'm embarking on another truck and bus tour of Dracula. Twelve cities in ten days, if that's conceivable.

Ed Wood: [[w:Christine Jorgensen|Christine Jorgensen] I'm Ed Wood, I'm here about directing the ] picture.

George Weiss: Well, a couple of things have changed. It ain't gonna be the Christine Jorgensen story no more. Goddamn Variety had to put the story before I got the rights. Now that bitch is asking for the sky.

Ed Wood: Oh, you're not gonna make the movie?

George Weiss: No, of course I'm gonna make the picture! I already presold Alabama and Oklahoma. Those repressed Okies, they go for that twisted, perverted stuff. We'll just do it without the shemale. We'll fictionalize it.

Ed Wood: Is there a script?

George Weiss: [he holds up a movie poster for "I Changed My Sex"] Fuck, no. But there's a poster. It opens nine weeks in Tulsa.

Ed Wood: Well Mr. Weiss, look no further, I'm your man. I work fast and I'm a deal. I write and direct. And I'm good. I just did a play in Hollywood and Victor Crowley himself praised its realism.

George Weiss: There's about 500 guys in this town that could say the same thing. On the phone you said you had some "special qualifications"?

Ed: [pauses, takes a deep breath] Mister Weiss... I have never told anyone what I'm about to tell you. But I really want this job. I like to wear women's clothing.

George Weiss: You're a fruit?

Ed: No, not at all. I love women. Wearing their clothes makes me feel closer to them.

George Weiss: You're not a fruit?

Ed: No, I'm all man. I even fought in W.W. Two. Of course, I was wearing women's undergarments under my uniform.

George Weiss: You gotta be kidding me.

Ed: Confidentially, I even paratrooped wearing a brassier and panties. I wasn't afraid of being killed, but I was terrified of being wounded and having the medics discover my secret.

George Weiss: So you think this qualifies you to direct my movie?

Ed: Yes. I know what it's like to live with a secret and worry what people are gonna think of you. My girlfriend still doesn't know why her sweaters are always stretched out.

George Weiss: Ed, you seem like a nice kid, but look around ya. I don't hire directors with burning desires to tell their stories. I make movies like "Chained Girls." I need someone with experience, who can shoot a film in four days, and make me a profit. I'm sorry, that's all that matters.

Elise Clifton-Ward: I'm Elise.

Frank Tupelo: I'm Frank.

Elise: That's a terrible name.

Frank: (shrugs) It's the only one I've got.

Elise: Maybe we can find you another.

Frank: Okay.

Frank Tupelo: What made Pearce think he could take on a guy like that? (Shaw)

Frank Tupelo: I'm involved in something here and no offense, this is not a local issue.

Frank Tupelo: (to Elise) You are the least down to earth person I've ever met.

Frank Tupelo: (to Elise) Would you rather have me smoking for real?

Frank Tupelo: (Alexander's letter to Elise) Elise, you have no reason to trust me anymore, but give me a chance to explain myself. I know the police are watching you. We have to throw them off the trail. Board the eight-twenty-two, the Gare de Lyon. Pick someone my height and build and make them believe it is me. Burn this letter. It is important you follow my instructions precisely. I love you, Alexander.

Frank Tupelo: Why is everyone trying to kill me?!

Guy LaPointe: [groans while holding stomach] You just had to have the second slider. You just HAD to HAVE the second slider. Oof...

Guy LaPointe: The unted is always "mister", the unter is always "monsieur".

Guy LaPointe: [about the crime scene] Oh, yes... It is one fuck of a bummer to look at, I can tell you that.

William Blake: Hello.

Nobody: I prepared your canoe with cedar boughs. It's time for you to leave now, William Blake. Time for you to go back where you came from.

William Blake: You mean Cleveland?

Nobody: Back to the place where all the spirits came from, and where all the spirits return. This world will no longer concern you.

William Blake: [shows Nobody a reel of tobacco] Found some tobacco.

Nobody: That tobacco is for your voyage... William Blake.

William Blake: Nobody... I don't smoke.

Trading Post missionary: God damn your soul to the fires of Hell!

William Blake: He already has.

Nobody: Did you kill the white man who killed you?

William Blake: I'm not dead. Am I?

Nobody: [seeing William touching his chest wound] Leave that alone stupid white man.

William Blake: [as Nobody attends to his wound] Am I going to die?

Nobody: The circle of life has no ending.

William Blake: Why are you helping me?

Nobody: A bird told me.

William Blake: A bird told you?

Nobody: [pauses] A small magical bird with bright blue feathers. I was following him in your forest, hoping to acquire one of his indigo feathers... and then I lost him... and then I found him again. He was perched on your chest tasting your blood. He looked at me. Then he flew directly west in a straight line - his small beak red with your blood.

William Blake: Do you still have my eyeglasses?

Nobody: No, I traded them. Do you have any tobacco?

William Blake: No, I traded it.

Nobody: For what?

William Blake: I'm not telling.

Nobody: Liar.

William Blake: Thief.

William Blake: What is your name?

Nobody: My name is Nobody.

William Blake: Excuse me?

Nobody: My name is Exaybachay. He Who Talks Loud, Saying Nothing.

William Blake: He who talks... I thought you said your name was Nobody.

Nobody: I preferred to be called Nobody.

Thel Russell: Watch it. It's loaded.

William Blake: Why do you have this?

Thel Russell: Because this is America.

William Blake: If the doors of perception were cleansed, everything would appear to man as it is: infinite.

Edward Ratchett: You are a strange, peculiar man.

Hercule Poirot: I am of an age where I know what I like and what I do not like. What I like, I enjoy enormously. What I dislike, I cannot abide. For instance, the temporary pleasantries before what is determined to be a business discussion.

Edward Ratchett: You're fun.

Narrator: We were somewhere around Barstow, on the edge of the desert, when the drugs began to take hold. I remember saying something like:

Raoul Duke: I feel a bit lightheaded. Maybe you should drive.

Narrator: Suddenly, there was a terrible roar all around us, and the sky was full with what looked like huge bats, all swooping and screeching and diving around the car, and a voice was screaming:

Dr. Gonzo: Did you say something?

Raoul Duke: Hm? Never mind. It's your turn to drive.

Narrator: No point in mentioning these bats, I thought. Poor bastard will see them soon enough.

Raoul Duke: [does a double take, seeing the real Hunter S. Thompson sitting nearby (doppelganger)] 1965. The great San Francisco acid wave. I recall one night in a place called the Matrix. There I was. Mother of God, there I am! Holy fuck! Uh...clearly I was a victim of the drug explosion - a natural street freak, just eating whatever came by.

Raoul Duke: [points skyward] Oh, you evil bastard! This your work. You better take care of me, Lord, cause if you don't you'll have me on your hands!

Raoul Duke: With a bit of luck, his life was ruined forever. Always thinking just behind some narrow door in all of his favorite bars, men in red woolen shirts are getting incredible kicks from things he'll never know.

Raoul Duke: Ah, devil ether. It makes you behave like the village drunkard in some early Irish novel. Total loss of all basic motor function. Blurred vision, no balance, numb tongue. The mind recoils in horror, unable to communicate with the spinal column. Which is interesting because you can actually watch yourself behaving in this terrible way, but you can't control it.

Raoul Duke: Few people understand the psychology of dealing with a highway traffic cop. Your normal speeder will panic and immediately pull over to the side. This is wrong. It arouses contempt in the cop-heart. Make the bastard chase you. He will follow.

Raoul Duke: [''yelling at a crowd in a parking lot''; [Hubert Humphrey; [wikipedia: Jewish_deicide|you killed Jesus] You people voted for ]! And ]!

Raoul Duke: Everything was automatic. I could sit in the red-leather driver's seat and make every inch of the car jump, by touching the proper buttons. It was a wonderful machine: Ten grand worth of gimmicks and big-priced Special Effects. The rear-windows leaped up with a touch, like frogs in a dynamite pond. The white canvas top ran up and down like a roller-coaster. The dashboard was full of esoteric lights & dials & meters that I would never understand — but there was no doubt in my mind I was in a superior machine.

Raoul Duke: [[w:San Bernardino, California|Berdoo] There was only one road back to L.A., U.S. interstate 15. Just a flat-out high speed burn through Baker, and Barstow, and ]. Then on to the Hollywood freeway straight into frantic oblivion. Safety... obscurity... just another freak in the freak kingdom. We'd gone in search of the American dream, it had been a lame fuck around. A waste of time. There was no point in looking back. Fuck no, not today, thank you kindly. My heart was filled with joy. I felt like a monster reincarnation of Horatio Alger, a man on the move, and just sick enough to be totally confident. The bolded lines are from the film version.

Raoul Duke: Strange memories on this nervous night in Las Vegas. Five years later? Six? It seems like a lifetime, or at least a main era... The kind of peak that never comes again. San Francisco in the middle sixties was a very special time and place to be a part of. Maybe it meant something, maybe not, in the long run. But no explanation, no mix of words or music or memories can touch that sense of knowing that you were there and alive in that corner of time in the world. Whatever it meant. There was madness in any direction, at any hour. You could strike sparks anywhere. There was a fantastic universal sense that whatever we were doing was right, that we were winning. And that, I think, was the handle - that sense of inevitable victory over the forces of Old and Evil. Not in any mean or military sense; we didn’t need that. Our energy would simply prevail. There was no point in fighting - on our side or theirs. We had all the momentum; we were riding the crest of a high and beautiful wave. So now, less than five years later, you can go up on a steep hill in Las Vegas and look West, and with the right kind of eyes you can almost see the high-water mark - that place where the wave finally broke and rolled back.

Raoul Duke: *This quote, while used in the movie, is not actually from the book. It was actually written by Thompson much later in "The Banshee Screams for Buffalo Meat.

Raoul Duke: There he goes. One of God's own prototypes. Some kind of high powered mutant never even considered for mass production. Too weird to live, and too rare to die.

Raoul Duke: There was no sense in blowing everything away for the sake of some violent ape I'd never even met.

Raoul Duke: Psychedelics are almost irrelevant in a town where you can wander in a casino any time in the day or night and witness the crucifixion of a gorilla.

Raoul Duke: My attorney had never caught on to the notion espoused by some former drug users that you can get a lot higher without drugs than with them. And neither have I, for that matter.