Fuck you! And your eyebrows!

Now that I’ve met you, would you object to never seeing me again?

Claudia Wilson Gator: I’m really nervous that you’re gonna hate me soon. You’re gonna find stuff out about me and you’re gonna hate me.
Jim Kurring: No. Like what? What do you mean?
Claudia Wilson Gator: You have so much - so many good things. And you seem so together. You’re a police officer and you seem so straight and put together - without any problems.
Jim Kurring: I lost my gun today.
Claudia Wilson Gator: What?
Jim Kurring: I lost my gun today when I left you and I’m the laughingstock of a lot of people. I wanted to tell you. I wanted you to know and it’s on my mind. And it makes me look like a fool. And I feel like a fool. And you asked that we should say things - that we should say what we’re thinking and not lie about things. Well, I can tell you that, this, that I lost my gun today - and I am not a good cop. And I’m looked down at. And I know that. And I’m scared that once you find that out you may not like me.
Claudia Wilson Gator: Jim. That, that was so…
Jim Kurring: I’m sorry.
Claudia Wilson Gator: - great. What you just said.

Jurassic Park kitchen scene.

DEAN CUNDEY (DP): That was actually one of the most complex and thoughtful sequences, and it’s always been one of my favourites in the film. Partly because when we walked into the set as it was being built, and I looked and saw that everywhere there was steel. But also it’s brushed stainless steel, which is particularly difficult because it reflects light and things in all directions. So we were constantly devising ways to hide the things that shouldn’t be seen, like lights and so forth, and yet create surfaces that the animators and compositors could put reflections in so that the illusion of reality was followed through with. 

Would you say that was the most taxing bit of the film? 

DEAN CUNDEY (DP): I think it probably was, because we were combining puppetry with visual effects, creatures…and again, doing Jurassic Park, nobody had photorealistic creatures in the computer before, so none of us knew anything about what they were going to look like when they were in, composited, any of the techniques we were just inventing them as we went along. Every shot required a great deal of thought. I think that a lot of the credit goes to the fact that Steven [Spielberg] was willing to find ways to accommodate all of the unknown, and as I would think of a potential difficulty on a particular shot and explain it to him, he would say, “Oh, okay, well how do we fix it?” and he was willing to listen to it rather than dismissing it and saying “Don’t worry about it”, and finding out later that it was less rewarding than you had hoped.  (via)

mappeal:

M. Night Shyamalan is somewhat the butt of the jokes right now but let’s remember Unbreakable

Four Pieces of Unbreakable, commentary by Jim Emerson

Miss Misery by Elliott Smith. From Good Will Hunting.

”..now I’ll pull my arms out with my face.” 

Spoiler alert if you haven’t seen this movie, but Sean Bean is the bad guy, yet I still spent the entire time rooting him on. Especially after this sequence.

“THINGS ARE WORSE THAN EVER.”

“Done with fish.” 

“Chuck your boyfriend, have a sandwich.”

“Whenever I hear M83’s ‘Midnight City’, I think of the Sax Man in The Lost Boys.” - C.