Julianne MooreQuotes

Julianne Moore
Birthday
December 3rd, 1960
From
Fayetteville, North Carolina, USA
Actor

The Big Lebowski - Recreation Activities of The Dude

Maude Lebowski: What do you do for— for recreation?
The Dude: [[LSD|acid] Oh, the usual. I bowl. Drive around. The occasional ] flashback.
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The Big Lebowski - Theories on a Kidnapping Scenario

The Dude: She probably kidnapped herself.
Walter Sobchak: Huh?
Donny: What do you mean, Dude?
The Dude: Rug peers did not do this. Look at it! A young trophy wife marries this guy for his money. she figures he isn't given her enough, you know. She owes money all over town.
Walter Sobchak: That fucking bitch.
The Dude: [[w:Vladimir Lenin|Lenin] It's all a goddamn fake, man! It's like ] said: You look for the person who will benefit, and, uh, uh, you know—
Donny: [[:w:I am the walrus|I am the walrus] ]"?
The Dude: You know what I'm trying to say?
Donny: I am the walrus.
Walter Sobchak: That fucking bitch
The Dude: Oh yeah!
Donny: I am the walrus.
Walter Sobchak: That's ex— Shut the fuck up, Donny! V.I. Lenin! Vladimir Ilyich Ulyanov!
Donny: What the fuck is he talking about?
Walter Sobchak: Fuckin exactly what happened to those— That makes me fuckin sick!
The Dude: Well, what do you care, Walter?
Walter Sobchak: Those rich fucks! This whole fuckin thing! I did not watch my buddies die face-down in the muck so this fuckin strumpet, this fuckin whore could waltz around town–
The Dude: Walter, Walter, I don't see any connection to Vietnam, man.
Walter Sobchak: Well there isn't a literal connection, Dude.
The Dude: Walter, face it. There isn't any connection. Your roll.
Walter Sobchak: Have it your way, but my point that—
The Dude: Your roll.
Walter Sobchak: My point is—
Jesus Quintana: Are you ready to be fucked, man? I see you rolled your way into the semis. Dios mio, man. Liam and me, we're gonna fuck you up!
The Dude: Yeah, well, you know, that's just, like, uh, your opinion, man.
Jesus Quintana: Let me tell you something, pendejo. You pull any of your crazy shit with us, you flash a piece out on the lanes, I'll take it away from you and stick it up your ass and pull the fucking trigger til it goes "click".
The Dude: Jesus.
Jesus Quintana: You said it, man. Nobody fucks with The Jesus.
Walter Sobchak: Eight year olds, Dude.
Bunny: [on video] You must be here to fix the cable.
Maude Lebowski: Lord. You can imagine where it goes from here.
The Dude: He fixes the cable?
Maude Lebowski: Don't be fatuous, Jeffrey.
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Far from Heaven - Racial Tensions in Social Interactions

Cathy Whitaker: Yes. I have spoken to Raymond Deagan on occasion. He brought his little girl to Eleanor's art show. But - but, apparently, even here in Hartford, the idea of a white woman even speaking to a colored man...
Frank Whitaker: Oh, please! Just save me the Negro rights!
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Far from Heaven - A Compliment on Formal Attire

Cathy Whitaker: I must say, you look extremely fetching all gussied up in your white tux and tie.
Frank Whitaker: Well, it's a good thing, since I can hardly breathe in it.
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Far from Heaven - Seeing Beyond Surface and Color

Cathy Whitaker: It isn't plausible for me to be friends with you. You've been so very kind to me and I've been perfectly reckless and foolish in return, thinking...
Raymond Deagan: Thinking what? That one person could reach out to another, take an interest in another - and maybe for one fleeting instant could manage to see beyond the surface, beyond the color of things?
Cathy Whitaker: Do you think we ever really do see beyond those things - the surface of things?
Raymond Deagan: Just beyond the fall of grace, behold that ever-shining place." Yes. I do. I don't really have a choice.
Cathy Whitaker: I wish I could.
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Far from Heaven - The Complexity of Confiding in Others

Raymond Deagan: Sometimes it's the people outside our world we confide in best.
Cathy Whitaker: But once you do confide, share with someone, they're no longer really outside, are they?
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Far from Heaven - Exploring Isolation and Identity in Society

Cathy Whitaker: Heaven knows we all have our troubles. I'm sure you, yourself...
Raymond Deagan: What?
Cathy Whitaker: I don't know. Ever since running into you at the exhibition, I kept wondering what it must be like to be the only one in a room. Colored or whatever it was. How that might possibly feel. I'm sure I've - I've never...
Raymond Deagan: Well, I suppose you sort of grow accustomed to it over time. I mean, don't get me wrong. There is a world, even here in Hartford, where everybody does indeed look like me. Trouble is, very few people ever leave that world.
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Far from Heaven - Different Perspectives on Artistic Expression

Eleanor Fine: A bit flowery for my taste.
Cathy Whitaker: How do you mean?
Eleanor Fine: Oh, you know, a touch light on his feet.
Cathy Whitaker: Oh, you mean...
Eleanor Fine: Yes, darling, he's one of those.
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Far from Heaven - Conflict Over Language and Identity

Eleanor Fine: I'm just delighted to see you taking interest in yet another civic cause. I can see it now: "Cathleen Whitaker and her kindness to homosexuals.
Cathy Whitaker: Ugh. That word.
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Far from Heaven - Household Expectations on Language Use

David Whitaker: Aw, geez!
Cathy Whitaker: We don't use language like that in this house.
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Far from Heaven - The Illusion of Appearances and Secrets

Stan Fine: Frank is the luckiest guy in town!
Frank Whitaker: It's all smoke and mirrors, fellas. That's all it is. You should see her without her face on.
Doreen: Frank!
Cathy Whitaker: No, he's absolutely right. We ladies are never what we appear, and every girl has her secrets.
Frank Whitaker: How about this girl getting her husband another drink?
Cathy Whitaker: Don't you think you've had enough, dear?
Frank Whitaker: No, honey, I don't think I've had enough!
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Far from Heaven - The Complexity of Modern Art Appreciation

Raymond Deagan: [Studying a [[Joan Miró|Miró] ] painting] So, what's your opinion on modern art?
Cathy Whitaker: It's hard to put into words, really. I just know what I care for and what I don't. Like this... I don't know how to pronounce it... Mira?
Raymond Deagan: Miró.
Cathy Whitaker: Miró. I don't know why, but I just adore it. The feeling it gives. I know that sounds terribly vague.
Raymond Deagan: No. No, actually, it confirms something I've always wondered about modern art. Abstract art.
Cathy Whitaker: What's that?
Raymond Deagan: That perhaps it's just picking up where religious art left off, somehow trying to show you divinity. The modern artist just pares it down to the basic elements of shape and color. But when you look at that Miró, you feel it just the same.
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Far from Heaven - A Question of Openness in Marriage

Cathy Whitaker: And there's nothing else you care to share with your very own adoring wife?
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Far from Heaven - Assertion of Masculinity and Identity

Cathy Whitaker: You're all man to me! All man...
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Far from Heaven - A Request for a Dance

Cathy Whitaker: Oh, Raymond, Mrs. Whitaker sounds so formal! Won't you please... ask me to dance?
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Far from Heaven - The Fragility of Idealized Love

Cathy Whitaker: That was the day I stopped believing in the wild ardor of things. Perhaps in love, as well. That kind of love. The love in books and films. The love that tells us to abandon our lives and plans, all for one brief touch of Venus. So often we fail at that kind of love. The world just seems too fragile a place for it. And of every other kind, life remains full. Perhaps it's just we who are too fragile.
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The Kids Are All Right - Discussing Relationship Boundaries with Their Son

Nic: Maybe we should just sit him down and ask him already.
Jules: What? "Are you and Clay fucking?
Nic: Exploring" is a better word.
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The Forgotten - A Mother's Search for Her Son

Telly Paretta: Where is my son?
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The Forgotten - A Promise of Discretion and Secrecy

Telly Paretta: Please tell me, no one will know that you spoke to us. I swear to you!
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The Forgotten - A Mother's Assertion of Her Child’s Existence

Telly Paretta: I had life inside me. I had life. I have a child. I have a son. I have a son, and his name is Sam, you son of a bitch.
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The Hand That Rocks the Cradle - Challenge of Creativity and Education

Marlene Craven: You've got a Harvard education, make something up!
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The Hand That Rocks the Cradle - The Influence of Maternal Power

Marlene Craven: The hand that rocks the cradle is the hand that rules the world.
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Short Cuts - Accusations of Cheating in Relationships

Marian Wyman: Are you cheating, Ralph?
Dr. Raplh Wyman: No, Marian. You cheat. Remember?
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Short Cuts - Exploring the Concept of Nothingness

Dr. Ralph Wyman: Tell me about that night with Mitchell Andersen.
Marian Wyman: There's nothing to tell.
Dr. Ralph Wyman: Alright, then tell me about nothingness! I'd like to hear a complete account of nothing!
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Carrie - The Endless Battle Against Evil

Margaret White: You know, the devil never dies, keeps coming back. But you gotta keep killing him... over and over again.
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Carrie - Margaret White's View on Boys and Blood

Margaret White: Boys, boys, after the blood... comes the boys, sniffing, slobbering like dogs.
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Carrie - Warning of Potential Harm

Margaret White: He'll hurt you.
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Carrie - A Mother's Burden of Guilt

Margaret White: It's not your fault, Carrie, it's mine.
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Psycho - Seeking Answers from a Mysterious Woman

Lila Crane: Look, that old woman, whoever she is, she told Arbogast something. I want her to tell us the same thing.
Sam Loomis: Hold it, you can't go up there.
Lila Crane: Why not?
Sam Loomis: Bates.
Lila Crane: Then let's find him. One of us can keep him occupied while the other gets to the old woman.
Sam Loomis: You'll never be able to hold him still even if he doesn't want to be held. And, I don't like you going into that house alone.
Lila Crane: I can handle a sick old woman!
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Psycho - Revelation About Norman Bates' Mother

Sheriff Al Chambers: Your detective told you he couldn't come right back because he was goin to question Norman Bates mother. Right?
Lila Crane: Yes.
Sheriff Al Chambers: Norman Bates mother has been dead and buried in Greenlawn Cemetery for the past 10 years!
Mrs. Eliza Chambers: I helped Norman pick out the dress she was buried in. Blue Bay.
Sheriff Al Chambers: It ain't only local history, Sam. It's the only case of murder and suicide on the Fairvale ledgers. Mrs. Bates poisoned this guy she was... involved with... when she found out he was married. Then she took a helpin of the same stuff herself. Strychnine. Ugly way to die.
Mrs. Eliza Chambers: [whispers] Norman found them dead together... in bed.
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Psycho - Concern for Marion's Disappearance

Lila Crane: She left home on Friday. I was in Tuscon over the weekend and I haven't heard from her since, not even a phone call. Look, if you too are in this thing together, I don't care — It's none of my business — but I want to talk to Marion and I want her to tell me it's none of my business. And then I'll go!
Sam Loomis: Bob! Run out and get yourself some lunch, will you?
Bob Summerfield: Oh, that's okay, Sam, I bought with me.
Sam Loomis: Run out and eat it!
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Don Jon - The Mutuality of Losing Oneself in Love

Esther: If you wanna lose yourself, you have to lose yourself to another person. And she has to lose herself to you. It's a two-way thing.
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The Hours - Choosing Life Amidst Despair and Regret

Laura Brown: There are times when you don't belong and you think you're going to kill yourself. Once I went to a hotel. Later that night I made a plan. The plan was I would leave my family when my second child was born. And that's what I did. I got up one morning, made breakfast, went to the bus stop, got on a bus. I'd left a note. I got a job in a library in Canada. It would be wonderful to say you regretted it. It would be easy. But what does it mean? What does it mean to regret when you have no choice? It's what you can bear. There it is. No-one's going to forgive me. It was death. I chose life.
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The Hours - Struggles with Worthiness and Survival

Laura Brown: Obviously, you feel unworthy. Gives you feelings of unworthiness. You survive and they don't.
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The Hours - A Cake for Daddy's Birthday

Laura Brown: I'm gonna make a cake. That's what I'm gonna do. I'm gonna make the cake for daddy's birthday.
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The Hunger Games: Mockingjay - Part 2 - Frustration Over Insubordination in Leadership

President Alma Coin: What is she doing?
Plutarch Heavensbee: [nonchalant, shrugs slightly] I don't know. It's so frustrating when she goes rogue.
President Alma Coin: This isn't just adolescent, it's insubordination.
Plutarch Heavensbee: Put her on the first hovercraft back.
President Alma Coin: Don't be ridiculous. She can't come back now. She's mythic.
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The Hunger Games: Mockingjay - Part 2 - A New Era of Justice in Panem

President Alma Coin: Welcome to the New Panem. Today, on the Avenue of the Tributes, all of Panem, a free Panem, will watch more than a mere spectacle. We are gathered to witness an historic moment of justice. Today, the greatest friend to the revolution will fire the shot to end all wars. May her arrow signify the end of tyranny and the beginning of a new era. Mockingjay, may your aim be as true as your heart is pure.
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May December - Choices Shaped by Time and Circumstance

Elizabeth: Why did you marry a man like Tom?
Gracie: I was young, and he seemed perfect on paper. It was a different time. My father used to say, "You're either leaving this house in a veil, or in a box.
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May December - Cancelled Orders and Future Implications

Joe Yoo: What happened?
Gracie: [sniffling] Joyce in Mercer called and cancelled her order, and all future orders.
Joe Yoo: [sighs] I'm sorry.
Gracie: And I told her that I'd already made it, and she said that she would pay for it, but that she didn't need it. They were leaving town.
Joe Yoo: Where are they going?
Gracie: [angrily] Her sister is sick or something. It doesn't matter. I wasted hours that I could have used.
Joe Yoo: You couldn't have known, Gracie.
Gracie: [sniffles; sobbing] I just... I hate things like that. And now I have this cake that's going to go right in the garbage.
Joe Yoo: You don't have to throw it in the garbage.
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May December - Perceptions of Height and Reality

Gracie: I thought you were taller. You look taller on television, but we're basically the same size.
Elizabeth: We're basically the same.
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May December - Understanding the Seeds of Human Experience

Gracie: It's my understanding that the movie takes place between 1992 and 1994, am I wrong? So why would you need to know anything that happened after that?
Elizabeth: Well, there are things that exist inside people that don't necessarily come to a head until later, and I try and look for the seeds of those things.
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May December - Defining Peace Through Simple Moments

Elizabeth: [reading Joe's card to Gracie from when they met] Peace is sitting on a lake in the summertime. Peace is a Coca-Cola on a hot summer day. Peace is being with you.
Gracie: The assignment was "What is peace?
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May December - Facing Uncertainty in Decision-Making

Gracie: What's making you feel bad?
Joe Yoo: [swallows] It's not... I don't feel bad, like... I'm just trying to say... What if I wasn't ready to be making those kinds of decisions? Then... then what? Because the kids. What would that mean?
Gracie: I don't understand what you're saying.
Joe Yoo: I'm saying, what if I was too young?
Gracie: [starts to tear up, scoffs] Well... You seduced me.
Joe Yoo: But I was 13 years old.
Gracie: Don't give me that.
Joe Yoo: But I was.
Gracie: I don't care how old you were. Who was in charge?
Joe Yoo: What?
Gracie: Who was the boss? Who was in charge? Who was in charge?
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May December - Managing Expectations in Relationships

Gracie: My brother Mark, he still lives in Richmond. He always says, "Keep your expectations low, and you'll never be disappointed." And I always forget that.
Elizabeth: How many brothers do you have?
Gracie: Four. Two older. Two younger. But I think you know that.
Elizabeth: So... what were your expectations?
Gracie: Uh, that tonight would go well. That my children would love me. And my life would be perfect.
Elizabeth: That was a little naive.
Gracie: I am naive. I always have been. In a way, it's been a gift.
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May December - The Significance of Tradition in Life

Gracie: Honor, I got you that scale, as I told you at the time, as a tradition, because that's what my mother got me when I graduated from high school. You try going through life without a scale. See how that goes.
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May December - Gracie's Perspective on Communication and Honesty

Gracie: Well, I'm not gonna cross-examine you, say what you wanna say.
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May December - The Danger of Insecurity

Gracie: Insecure people are very dangerous, aren't they? I'm secure. Make sure you put that in there.
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Boogie Nights - A Flirtatious Encounter Between Two Characters

Amber Waves: What are you looking at?
Jack Horner: I'm looking at you.
Amber Waves: You're staring.
Jack Horner: You know what I'm staring at? I'm staring at the foxiest bitch in the whole world.
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Boogie Nights - Longing for Connection and Maternal Love

Amber Waves: I miss my two sons, you know. I miss my little Andrew... and I miss my Dirk. I always felt like Dirk was my baby. My new baby. Don't you miss Dirk?
Rollergirl: Yeah.
Amber Waves: [laughs] He's so fucking talented, the bastard. You know, I just...I love him, Rollergirl. I really love the stupid jerk.
Rollergirl: [in tears] I love you, Mom. I want you to be my mom, Amber. Are you my mom? I'll just...I'll ask you if you're my mom, and you say yes, okay? Are you my mom?
Amber Waves: [smiles; They embrace, both crying] Yes, honey. Yes, yes.
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Boogie Nights - The Dream of Engaging Cinematic Storytelling

Jack Horner: [[Pornography|the big dicks, the big tits] But you gotta get the people in the theater. You know, you need ]...
Amber Waves: Uh oh, here we go.
Jack Horner: [[Orgasm|come; [W:semen|joy juice] How do you keep them in the theater after they've ]? The beauty and the acting. No, I understand you've got to get em in the theater. You know, you've got to get the seats full. But I don't want to make a film where they show up, they sit down, they jack off, and they get up and they get out before the story ends. It is my dream, it is my goal, it is my idea to make a film where the story just sucks them in. And when they spurt out that ], they've got to just sit in it. They can't move until they find out how the story ends. You know, I want to make a film like that. And I understand, they have to make films...I've made them myself, you know where there's a few laughs, everyone fucks their brains out. And that's fine. But it's my dream to make a film that is true and right and dramatic.
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Kingsman: The Golden Circle - A Moment of Appreciation and Taste

Poppy: It's beautiful, isn't it?
Poppy: Not that. This.
Poppy: Bon appetit.
Poppy: How is it?
Angel: It's delicious!
Poppy: Welcome to Golden Circle.
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Kingsman: The Golden Circle - Authority and Loyalty in The Golden Circle

Poppy: So, fellas, I have a couple of things that I wanna clarify. You understand that in The Golden Circle, my authority is never to be questioned, right? And the importance of following orders? Do you understand that? And the value of loyalty?
Poppy: It's easy to nod, isn't it?
Poppy: I don't like easy. I like proof.
Poppy: What's your name?
Angel: [Spanish accent] Angel, ma'am.
Poppy: [whispers] Angel, baby. Hey.. Your old pal Charles has messed up. That's all I'm gonna tell you, because that's all you need to know. So put him in the mincer, okay?
Charles: No, Miss Poppy!
Poppy: Good job! See my salon across the way? Head there for your makeover.
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Children of Men - Perceptions of the Past and Present

Kee: You told me he was suave. Wanker's a drunk.
Julian: He's suave. You should have seen him in the old days when he was a real activist.
Theo: You were the activist, I just wanted to get laid.
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Children of Men - Awkward Introductions in Tense Situation

Julian: Kee, this is Theo.
Kee: What the fuck you staring at?
Theo: Apparently the pleasure's all mine. Are we planning a sing-along? Good. I'm gonna take a nap.
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Cast a Deadly Spell - Missed Opportunities in a Chaotic World

Connie Stone: [Lovecraft joins her in the car's back seat after it's all over] How's the hand?
Connie Stone: Broken. What's going on?
Det. Harry Philip Lovecraft: Just missed the fuck that saved the world.
Connie Stone: [pause] I miss everything. I even missed being a god. What happens now?
Det. Harry Philip Lovecraft: Grimaldi takes you in for killing Borden.
Connie Stone: [pause] We were a hell of a team, you and me. We still could be.
Det. Harry Philip Lovecraft: Maybe someday.
Connie Stone: Phil?
Det. Harry Philip Lovecraft: Yeah?
Connie Stone: Kiss me before I faint.
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Cast a Deadly Spell - A Detective's Stance on Magic

Connie Stone: I heard something about you at the club.
Det. Harry Philip Lovecraft: Such as?
Connie Stone: You don't use magic.
Det. Harry Philip Lovecraft: You heard right.
Connie Stone: How do you expect to get out of dumps like this if you don't start playing the game?
Det. Harry Philip Lovecraft: Seems to me we've already had this discussion.
Connie Stone: Everybody uses magic.
Det. Harry Philip Lovecraft: I don't.
Connie Stone: What have you got to show for it? Fly-specked office, a broken-down car and an ugly necktie, that's what all this integrity buys you. Damn it, everybody's got to compromise.
Det. Harry Philip Lovecraft: That's what I keep hearing.
Connie Stone: And what makes you so special?
Det. Harry Philip Lovecraft: What makes me special is that I'm my own man. When I started out, I said there were things I would do and things I wouldn't do. Lot of guys start like that and a lot of them sell out along the way, but the more who fall, the easier it gets. See, look... everybody compromises, everybody cheats, everybody uses magic. So they empty ideals out of their pockets and get on with the job of sticking it to their neighbor before they stick it to them. That's the way it's done. To which I say "nuts." My collar may be a little frayed, maybe I need a shoeshine, but nobody's got a mortgage on my soul. I own it, free and clear.
Connie Stone: I'm not gonna apologize for my life.
Det. Harry Philip Lovecraft: Didn't ask you to.
Connie Stone: I'm happy the way things are.
Det. Harry Philip Lovecraft: Glad to hear it.
Connie Stone: You've got to look ahead. You can't drag around the past. There's nothing you can do about it.
Det. Harry Philip Lovecraft: Sounds like you have a real good grip on things.
Connie Stone: [a few moments of silence] Why did you have to walk back into my life?
Det. Harry Philip Lovecraft: Why did you walk out of mine?
Connie Stone: Because you're a wiseacre son of a bitch who doesn't know which way the wind is blowing.
Det. Harry Philip Lovecraft: And?
Connie Stone: And did you really remember the sound of my breathing?
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Magnolia - Conflicted Emotions in a Dying Marriage

Linda Partridge: [to her lawyer] I have to tell you something, I have something to tell you. I want to change his will. Can I change his will? I need to....No, no, no, you see, uhm, I never loved him. I never loved him. Earl. When I met him, when I started, I met him, I fucked him, and I married him because I wanted his money. Do you understand? I'm telling you this. I've never told anyone, I didn't love him, but now, you know, I know I'm in that will. I mean, we're all there together. We made that fucking thing and all the money I'll get. And I don't want it, because I love him so much now. I've fallen in love with him now for real as he's dying. And, uhm, I look at him, and he's about to go, Alan. He's moments. I took care of him through this, Alan. What now, then? I don't want him to die. I didn't love him when we met, and I did so many bad things to him that he doesn't know. Things that I want to confess to him, but now I do. I love him....This isn't any fucking medication talking! This isn't -- I don't know, I don't know. Can you give me nothing? You, you have power of attorney! Can you go, can you go in the final fucking moments and change the will? I-I don't want any money. I couldn't live with myself with this thing that I've done. I've done so many bad things. I fucked around. I fucking cheated on him. I fucking cheated on him, Alan! There. There. You're his lawyer, our lawyer. I am his wife. We are married. I broke the contract of marriage. I fucked around on him many times. I sucked other men's cocks...
Alan Kligman: Linda, stop. Now you take a moment, you breathe, and one thing at a time.
Linda Partridge: Shut the fuck up.
Alan Kligman: You know what would help you, Linda?
Linda Partridge: Shut the fuck up. Shut the fuck up.
Alan Kligman: You need to sober up.
Linda Partridge: Now, you must really shut the fuck up now, please - shut the fuck up.
Alan Kligman: Linda.
Linda Partridge: I have to go.
Alan Kligman: Let me call you a car, Linda.
Linda Partridge: Shut the fuck up.
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Magnolia - Confrontation in a Pharmacy

Young Pharmacy Kid: Strong, strong stuff here. What exactly you have wrong, you need all this stuff?
Linda Partridge: Motherfucker.
Young Pharmacy Kid: What are you talking about?
Linda Partridge: Who the fuck are you? Who the fuck do you think you are? I come in here. You don't know me. You don't know who I am, what my life is. You have the balls, the indecency to ask me a question about my life?
Old Pharmacist: Please, lady, why don't you calm down?
Linda Partridge: Fuck you, too. Don't call me "lady". I come in here, I give these things to you. You check, you make your phone calls, look suspicious, ask questions. I'm sick. I have sickness all around me and you fucking ask me about my life? "What's wrong?" Have you seen death in your bed? In your house? Where's your fucking decency? And then I'm asked fucking questions. What's... wrong? You suck my dick. That's what's wrong. And you, you fucking call me "lady"? Shame on you. Shame on you. Shame on both of you.
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The Lost World: Jurassic Park - Request for a Flexible Material

Sarah Harding: [Holds out her hand and Nick spits saliva into it] I need something pliable. Spit. Your gum!.
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The Lost World: Jurassic Park - Need for Practicality Amidst Romantic Gestures

Sarah Harding: [to Malcolm] Look. I love that you rode in here on a white horse. I really do. It's very touching, very dramatic. I just need you to show up in a cab now and then, too.
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The Lost World: Jurassic Park - Experience with Predators in the Wild

Sarah Harding: [to Malcolm] I've worked around predators since I was 20 years old. Lions, jackals, hyenas…you.
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Chloe - A Moment of Vulnerability and Desire

Catherine Stewart: Please leave me alone. I’m sorry I hurt you. You’re beautiful. You’re amazing. You really are...
Chloe: Then kiss me.
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Chloe - Confrontation Over Money and Relationships

Catherine Stewart: What do you want?!
Chloe: You thought you could buy me and I’d go away. Just hand me money and I’d run away and take care of myself.
Catherine Stewart: [Desperate, to her son] Please, get out of here.
Michael Stewart: What’s going on...?
Catherine Stewart: I don’t want you near my son. Do you understand?
Chloe: He’s not yours. None of us are. Your husband isn't yours. And I’m not yours either.
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Chloe - Miscommunication in the Waiting Room

Chloe: [Calling Catherine in her clinic] Hello Catherine.
Catherine Stewart: Where are you?
Chloe: [camera pans to Chloe, standing in the doorway] I'm in your waiting room. Didn't you see me when you came in?
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Chloe - Struggling with Intimacy and Self-Identity

Catherine Stewart: You and I used to make love three times a day. Then every day. Then once a week. And then we had a child. We had life and work, we were best friends, and then I didn’t know how to go from your best friend to your lover.
David Stewart: You stopped touching me.
Catherine Stewart: I couldn't look at myself. I didn’t know who I was. I think I’m nineteen, and then I look in the mirror, and I’m this person who doesn't know how to seduce you.
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Chloe - Finding Love in Small Things

Catherine Stewart: How do you do this?
Chloe: I try to find something to love in everybody. Even if it's a small thing. Something about the way someone smiles. There's always something, there has to be. I try to make myself generous. I do things I don't want to do. I... I think about what not to criticize. And the strangest things come back to me.
Catherine Stewart: Like?
Chloe: You.
Catherine Stewart: Me?
Chloe: Yeah. Yeah people like you walk into my life.
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Chloe - Flirting and Misunderstandings in Relationships

Catherine Stewart: Did you find that waitress sexy?
David Stewart: Which one?
Catherine Stewart: The one you were flirting with.
David Stewart: Oh come on, I was being friendly.
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Chloe - Understanding Sexual Experience and Orgasm

Eliza: I’ve never had an orgasm.
Catherine Stewart: From intercourse?
Eliza: [pause; pause] I’ve never had sex. I tried once. And then again. It hurt....I don’t think I’m normal. I just don’t like the whole...process.
Catherine Stewart: An orgasm is simply a series of muscle contractions. That’s it. It comes from manipulating the clitoris. Nothing mysterious, nothing magic about it. I’ll get you some literature to take home with you. You can get dressed.
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Chloe - Discontent with Partner's Midlife Crisis Fling

Catherine Stewart: I'm supposed to be happy you had your little midlife crisis fling?
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Chloe - Business Transaction Concluded

Catherine Stewart: [to Chloe] This business transaction, which is what this was, is over!
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Chloe - Suspicions of Infidelity and Desire for Truth

Catherine Stewart: My husband's cheating on me. At least I think he is. I wanna find out. See what he does if you present yourself to him.
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The Hunger Games: Mockingjay - Part 1 - The Burden of Waiting and Resilience

President Alma Coin: [''Walks up to Katniss in empty cafeteria''] There's no news. I'm sorry. It's the worst torture in the world. Waiting, when you know there's nothing you can do. Especially for people like us. But whatever strength, courage, madness, keeps us going, you find it, at times like these. You have it, soldier. It's what's kept you alive all this time. And it won't fail you now.
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Crazy, Stupid, Love. - Conflicting Desires in a Relationship Moment

Cal: How about we say what we want on three? One, two, three.
Emily: I want a divorce.
Cal: [at the same time] Creme brulee.
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Crazy, Stupid, Love. - Feeling Lost in a Confusing Situation

Emily: Is this some kind of a skit? Because I'm lost.
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