Sullivan's Travels - Taglines
Taglines:
The Creator of "Lady Eve" brings you his latest and most lilting laugh-fest!
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Veronica Lake's Involvement in Corruption
Taglines:
Veronica Lake's on the take!
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A Journey Toward Happiness and Unexpected Love
Taglines:
A Happy-Go Lucky Hitch-Hiker on the Highway to happiness! He wanted to see the world . . . but wound up in Lover's Lane!
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Discussion about the swimming pool location
The Girl: [Sullivan and the girl are walking through his palatial mansion]
Where's the swimming pool? You must have a swimming pool.
John L. Sullivan:
Right out here.
John L. Sullivan:
Outside dining room, barbecue.
The Girl:
Hmm.
John L. Sullivan:
Pretty, isn't it?
The Girl:
Yeah.
John L. Sullivan:
There's the tennis court up there, grape arbor there, and the grove there. Well, I guess that's about all. What are you looking at me that way for?
John L. Sullivan: [falls into the swimming pool]
Ooh!
The Girl:
Hey, you big fathead!
John L. Sullivan:
What's the big idea?
The Girl:
That's for your swimming pools and your tennis courts and your limousines and your barbecues. That's for making fun of a poor girl who only tried to help you, you big faker!
John L. Sullivan:
Who made fun of you?
The Girl:
You did, with your stories of being a washed-up director, you big clunk!
John L. Sullivan:
Oh I did, did I?
Burrows:
Breakfast is served, sir.
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Preferences and Identity in Relationships
The Girl:
I liked you better as a bum.
John L. Sullivan:
I can't help what kind of people you like.
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Questioning Identity and Consequences in Filmmaking
John L. Sullivan:
Look they don't sentence picture directors to a place like this... for a little disagreement with a yard bull.
Trustee:
Don't they?
John L. Sullivan:
No.
Trustee:
Well, then, maybe you ain't a movie director. Maybe that idea just come to you... - when you got hit on the head, maybe.
John L. Sullivan:
Huh?
Trustee:
Maybe that idea just come to you... when you got hit on the head, maybe.
John L. Sullivan:
Now look...
Trustee: [[w:Charles Lindbergh|Lindbergh]
We used to have a fella here once that thought he was ]. He used to fly away every night... but he was always back in the morning.
John L. Sullivan:
Don't I look like a picture director?
Trustee:
Course I never seen one. You look more like a soda jerk, or maybe a plasterer, maybe.
John L. Sullivan:
But... If ever a plot needed a twist, this one does.
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Reflection on Wealth and Human Connection
Las Vegas Diner Counterman: [Giving the obviously broke Sully and girl each coffee and a donut]
I'll never get rich.
The Girl:
Oh, gee.
John L. Sullivan:
You're a little richer than you were. Hundreds of miles from everything. Cut off from the world, a taste of human kindness. I'll never forget it as long as I live. What town is this?
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Finding Trouble in Simplicity
The Girl:
You're so simple, you're apt to get into a lot of trouble.
John L. Sullivan:
What do ya think I'm out here for?
The Girl:
Gee, I like that about you. You're like those knights of old who used to ride around looking for trouble.
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The Paradox of Seeking Solitude Together
John L. Sullivan:
But nothing is going to stop me. I'm going to find out how it feels to be in trouble. Without friends, without credit, without checkbook, without name. Alone.
The Girl:
And I'll go with you.
John L. Sullivan:
How can I be alone if you're with me?
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A Humorous Take on Social Interactions
The Girl:
You know, the nice thing about buying food for a man is that you don't have to listen to his jokes. Just think, if you were some big shot like a casting director or something, I'd be staring into your bridgework saying Yes, Mr. Smearcase. No, Mr. Smearcase. Not really, Mr. Smearcase! Oh, Mr. Smearcase, that's my knee! Give Mr. Smearcase another cup of coffee. Make it two. Want a piece of pie?
John L. Sullivan:
No thanks, kid.
The Girl:
Why, Mr. Smearcase, aren't you getting a little familiar?
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The Role of Women in Film
Policeman at Beverly Hills station:
How does the girl fit in this picture?
John L. Sullivan:
There's always a girl in the picture. Haven't you ever been to the movies?
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Identity and Appearance in Taxation Context
Policeman at Beverly Hills station:
Are you sure this is Sullivan?
Sullivan's Valet:
Oh, quite, sir.
Policeman at Beverly Hills station:
What are you doing in these clothes?
John L. Sullivan: [wearing rags from a studio wardrobe]
I just paid my income tax.
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Exploring Poverty for Authentic Storytelling
Burrows:
Good morning, sir. I don't like it at all, sir. Fancy dress, I take it?
John L. Sullivan:
What's the matter with it?
Burrows:
I have never been sympathetic to the caricaturing of the poor and needy, sir.
John L. Sullivan:
Who's caricaturing? I'm going out on the road to find out what it's like to be poor and needy and then I'm going to make a picture about it.
Burrows:
If you'll permit me to say so, sir, the subject is not an interesting one. The poor know all about poverty and only the morbid rich would find the topic glamorous.
John L. Sullivan:
But I'm doing it for the poor. Don't you understand?
Burrows:
I doubt if they would appreciate it, sir. They rather resent the invasion of their privacy, I believe quite properly, sir. Also, such excursions can be extremely dangerous, sir. I worked for a gentleman once who likewise, with two friends, accoutered themselves as you have, sir, and then went out for a lark. They have not been heard from since. May I close, sir, by warning you against the entire expedition, which I envision with deep apprehension and gloomy foreboding.
John L. Sullivan:
Thanks, same to you.
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The Nature of Poverty and Its Impact
Burrows:
You see, sir, rich people and theorists - who are usually rich people - think of poverty in the negative, as the lack of riches - as disease might be called the lack of health. But it isn't, sir. Poverty is not the lack of anything, but a positive plague, virulent in itself, contagious as cholera, with filth, criminality, vice and despair as only a few of its symptoms. It is to be stayed away from, even for purposes of study. It is to be shunned.
John L. Sullivan:
You seem to have made quite a study of it.
Burrows:
Quite unwillingly, sir. Will that be all, sir?
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Value of Genius and Foolishness
Hadrian:
We'd better insure him for a million.
LeBrand:
He's worth more.
Hadrian:
The bonehead.
LeBrand:
Yes, but what a genius.
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Different Perspectives on Hardship and Experience
John L. Sullivan:
What do you mean, what do I know about hard luck? Don't you think I've...
Hadrian:
No.
John L. Sullivan:
What?
Hadrian:
You have not. I sold newspapers till I was 20, then I worked in a shoe store and put myself through law school at night. Where were you at 20?
John L. Sullivan:
I was in college.
LeBrand:
When I was 13, I supported three sisters, two brothers and a widowed mother. Where were you at 13?
John L. Sullivan:
I was in boarding school. I'm sorry!
LeBrand:
Well, you don't have to be ashamed of it, Sully. That's the reason your pictures have been so light, so cheerful, so inspiring.
Hadrian:
They don't stink with messages.
LeBrand:
That's why I paid you five hundred a week when you were 24.
Hadrian:
Seven hundred and fifty when you were 25.
LeBrand:
A thousand when you were 26.
Hadrian:
When I was 26, I was getting 18.
LeBrand:
Two thousand when you were 27!
Hadrian:
I was getting 25 then!
LeBrand:
I'd just opened my shooting gallery. Then three thousand after "Thanks for Yesterday.
Hadrian:
Four thousand after "Ants in Your Plants.
John L. Sullivan:
I suppose you're trying to tell me I don't know what trouble is.
Hadrian:
Yes!
LeBrand:
In a nice way, Sully.
John L. Sullivan:
Well, you're absolutely right. I haven't any idea what it is.
Hadrian:
People always like what they don't know anything about.
John L. Sullivan:
I had a lot of nerve wanting to make a picture about human suffering.
LeBrand:
You're a gentleman to admit it, Sully, but then, you are anyway.
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Artistic Ambitions in Film Creation
John L. Sullivan:
Of course I'm just a minor employee here, Mr. LeBrand...
LeBrand:
He's starting that one again.
John L. Sullivan:
I wanted to make you something outstanding... something you could be proud of, something that would realize the potentialities of film... as the sociological and artistic medium that it is. With a little sex in it. Something like...
Hadrian: [[w:Frank Capra|Capra]
Something like ]. I know.
John L. Sullivan:
What's the matter with Capra?
LeBrand:
Look, you want to make O Brother, Where Art Thou?
Hadrian:
Now, wait a minute!
LeBrand:
Then go ahead and make it! For what you're getting, I can't afford to argue with you.
John L. Sullivan:
That's a fine way to start a man out on a million-dollar production.
LeBrand:
You want it, you've got it! I can take it on the chin. I've taken it before.
John L. Sullivan:
Not from me you haven't.
LeBrand:
Not from you, Sully, that's true. Not with pictures like So Long Sarong, Hey, Hey, In the Hayloft, Ants in Your Plants of 1939... But they weren't about tramps, lockouts, sweatshops, people eating garbage in alleys and living in piano boxes and ash cans.
Hadrian:
And phooey!
LeBrand:
They're about nice, clean young people... who fell in love... with laughter and music and legs. Now take that scene in Hey, Hey, In the Hayloft...
John L. Sullivan:
But you don't realize conditions have changed. There isn't any work. There isn't any food. These are troublous times.
Hadrian:
What do you know about trouble?
John L. Sullivan:
What do I know about trouble?
Hadrian:
Yes, what do you know about trouble?
John L. Sullivan:
Well, what do you mean, what do I know about trouble?
Hadrian:
Just what I'm saying. You wanna make a picture about garbage cans. What do you know about garbage cans? When did you eat your last meal out of one?
Hadrian:
Well, what's that got to do with it?
John L. Sullivan:
He's asking you.
Hadrian:
You wanna make an epic about misery. You wanna show hungry people sleeping in doorways.
LeBrand:
With newspapers around them!
Hadrian:
You wanna grind out ten thousand feet of hard luck - and all I'm asking you is, what do you know about hard luck?
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Artistic Vision vs. Commercial Appeal
John L. Sullivan:
I want this picture to be a commentary on modern conditions. Stark realism. The problems that confront the average man!
LeBrand:
But with a little sex.
John L. Sullivan:
A little, but I don't wanna stress it. I want this picture to be a document. I wanna hold a mirror up to life. I want this to be a picture of dignity! A true canvas of the suffering of humanity!
LeBrand:
But with a little sex in it.
John L. Sullivan: [reluctantly]
With a little sex in it.
Hadrian:
How bout a nice musical?
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The Impact of Art on Society
John L. Sullivan:
You see? You see the symbolism of it? Capital and labor destroy each other. It teaches a lesson, a moral lesson, it has social significance.
Hadrian:
Who wants to see that kind of stuff? It gives me the creeps.
John L. Sullivan:
Tell him how long it played at the Music Hall.
LeBrand:
It was held over a fifth week.
Hadrian:
Who goes to the Music Hall? Communists!
John L. Sullivan:
Communists? This picture's an answer to communists. It shows we're awake and not dunking our heads in the sand like a bunch of ostriches!
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Inquiring About Train Schedules and Passengers
Burrows:
Hello. Information? Eh, have you any freight trains going East this afternoon or early this evening?.. 5:48... Uh, thank you very much indeed, sir. Oh, and could you tell me, does that train carry tramps? And if so, where to they get on?
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The Value of Laughter in Life
John L. Sullivan: [last lines]
There's a lot to be said for making people laugh. Did you know that that's all some people have? It isn't much, but it's better than nothing in this cockeyed caravan.
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Struggle Between Hollywood and Real Life
John L. Sullivan:
It's a funny thing how everything keeps shoving me back to Hollywood or Beverly Hills, or this monstrosity we're riding in. Almost like, like gravity as if some force were saying, Get back where you belong. You don't belong out here in real life, you phony you.!'... Maybe there's a universal law that says, Stay put. As you are, so shall you remain. Maybe that's why tramps are always in trouble. They don't vote. They don't pay taxes. They violate the law of nature... But nothing is gonna stop me. I'm gonna find out how it feels to be in trouble, without friends, without credit, without checkbook, without name. Alone.
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