Inez: You always take the side of the help. That's why Daddy says you're a communist.
出自電影《午夜·巴黎》 的經典對白。
更多午夜·巴黎的經典對白
Gil: That's what the present is. It's a little unsatisfying because life is unsatisfying.
Gertrude Stein: The artist's job is not to succumb to despair but to find an antidote for the emptiness of existence.
Gil: Yes, but you're a surrealist! I'm a normal guy!
Ernest Hemingway: Picasso only thinks that women are to sleep with, or to paint.
Inez: You always take the side of the help. That's why Daddy says you're a communist.
Adriana: That Paris exists and anyone could choose to live anywhere else in the world will always be a mystery to me.
Gil: You can fool me, but you cannot fool Ernest Hemingway!
Gil: 500 francs for a Matisse? Yeah I think that sounds fair! You know, I wonder if actually I can pick up 6 or 7?
Gil: Thomas Stearns Eliot? T.S. Eliot? T.S. Eliot? Prufrock is like my mantra.
Gil: I'm jealous and I'm trusting. It's cognitive dissonance. F. Scott Fitzgerald talked about it.
Paul: Sex and alcohol. Fuels the desire kills the performance, according to the Bard.
Gil: You're very kind, but I wouldn't call my babbling poetic. Although I was on a pretty good roll there.
Gil: That was Djuna Barnes? No wonder she wanted to lead.
Gertrude Stein: You have a clear and lovely voice. Don't be such a defeatist.
Adriana: I'm from the '20s, and I'm telling you the golden age is la Belle Epoque.
Gil: They are your friends and I have to admit I'm not quite as taken with them as you are.
Gil: You know how I think better in the shower, get all those positive ions flowing.
Gil: I'm having trouble because I'm a Hollywood hack who never gave real literature a shot.
Gil: She's right, I recently read a two-volume biography of Rodin, and Rose was the wife, Camille the mistress.
Gil: Wow! Didn't take Gauguin long to start steaming in.
Inez: Gil, just pay attention. You might learn something.
Gil: What is it with this city? I need to write a letter to the Chamber of Commerce.
Gil: Listen. Where I come from, people measure out their lives with coke spoons.
Gil: That's what the present is. It's a little unsatisfying because life is unsatisfying.
Gertrude Stein: The artist's job is not to succumb to despair but to find an antidote for the emptiness of existence.
Ernest Hemingway: Picasso only thinks that women are to sleep with, or to paint.
Gil: Yes, but you're a surrealist! I'm a normal guy!
Inez: You always take the side of the help. That's why Daddy says you're a communist.
Adriana: That Paris exists and anyone could choose to live anywhere else in the world will always be a mystery to me.
Gil: 500 francs for a Matisse? Yeah I think that sounds fair! You know, I wonder if actually I can pick up 6 or 7?
Gil: You can fool me, but you cannot fool Ernest Hemingway!
Gil: I'm jealous and I'm trusting. It's cognitive dissonance. F. Scott Fitzgerald talked about it.
Gil: Thomas Stearns Eliot? T.S. Eliot? T.S. Eliot? Prufrock is like my mantra.
Paul: Sex and alcohol. Fuels the desire kills the performance, according to the Bard.
Gil: You're very kind, but I wouldn't call my babbling poetic. Although I was on a pretty good roll there.
Gil: That was Djuna Barnes? No wonder she wanted to lead.
Gertrude Stein: You have a clear and lively voice. Don't be such a defeatist.
Adriana: I'm from the '20s, and I'm telling you the golden age is la Belle Epoque.
Gil: I'm having trouble because I'm a Hollywood hack who never gave real literature a shot.
Gil: You know how I think better in the shower, get all those positive ions flowing.
Gil: They are your friends and I have to admit I'm not quite as taken with them as you are.
Gil: She's right, I recently read a two-volume biography of Rodin, and Rose was the wife, Camille the mistress.
Gil: Wow! Didn't take Gauguin long to start steaming in.
Gil: Listen. Where I come from, people measure out their lives with coke spoons.
Inez: Gil, just pay attention. You might learn something.
Helen: We saw a wonderfully funny American film last night. Inez: Who was in it? Helen: Oh, I don't know. I forget the name. Gil: Wonderful but forgettable. It sounds like a film I've seen. I probably wrote it.
Gil: These people don't have any antibiotics! Adriana: What are you talking about? Gil: Adriana, if you stay here though, and this becomes your present then pretty soon you'll start imagining another time was really your... You know, was really the golden time. Yeah, that's what the present is. It's a little unsatisfying because life's a little unsatisfying. Adriana: That's the problem with writers. You are so full of words.
Adriana: Let's go! Ernest Hemingway: One of these days I plan to steal you away from this genius Ernest Hemingway: who's great... But... he's no Miro.
Gil: This is unbelievable! Look at this! There's no city like this in the world. There never was. Inez: You act like you've never been here before. Gil: I don't get here often enough, that's the problem. Can you picture how drop dead gorgeous this city is in the rain? Imagine this town in the '20s. Paris in the '20s, in the rain. The artists and writers! Inez: Why does every city have to be in the rain? What's wonderful about getting wet?
Gil: It's understated but elegant. That's what you always say. Helen: Cheap is cheap is what I always say.
Gil: He's a pseudo-intellectual. Just a little bit. Inez: Ah, Gil, I hardly think he'd be lecturing at the Sorbonne if he's a pseudo-intellectual.
Détective Tisserant: Versailles Royalty: Who are you? Détective Tisserant: I'm lost. I took a wrong turn. Versailles Royalty: Guard! Guard! Détective Tisserant: Versailles Royalty: Off with his head! Off with his head!
Ernest Hemingway: You'll never be a great writer if you fear dying, do you? Gil: Yeah, I do. I would say it's my greatest fear.
Inez: Why don't you tell them about the lead character that you're working on right now? Carol: Yes! Oh, come on. Gil: I don't like to discuss my work. Inez: Well, dear, you don't have to tell them the whole plot, just the character. Gil: No, No, No. Inez: Okay. He works in a nostalgia shop. Carol: What's a-- What's a nostalgia shop? Paul: Oh, not one of those stores where they sell Shirley Temple dolls and old radios? And I never know who buys that stuff. Who'd want it? Carol: I don't know. Inez: Well, people who live in the past, people who think that their lives would be happier if they lived in an earlier time. Paul: And just which era would you have preferred to live in, Miniver Cheevy? Inez: Paris in the '20s, in the rain. Gil: Wouldn't have been bad. Inez: When the rain wasn't acid rain Paul: I see. And no global warming, no TV and suicide bombing, and nuclear weapons, drug cartels. Carol: Usual menu of cliched horror stories.
Ernest Hemingway: She's chosen Picasso, but Pablo thinks women are only to sleep with or to paint.
Gil: It sounds so crazy to say. You guys are going to think I'm drunk, but I have to tell someone. I'm from a - different time. Another era. The future. Okay? I come from the 2,000th millennium to here. I get in a car, and I slide through time. Man Ray: Exactly correct! You inhabit two worlds. So far, I see nothing strange. Gil: Why? Yeah, you're surrealists! But I'm a normal guy.
F. Scott Fitzgerald: Greetings and salutations. You'll forgive me, I've been mixing grain and grappa. Now this is a writer, Gil, yes? Gil: Gil Pender. F. Scott Fitzgerald: Gil Pender. Ernest Hemingway: Hemingway. Gil: Hemingway? Ernest Hemingway: You like my book. Gil: Liked? I loved, all your work. Ernest Hemingway: Yes, it was a good book because it was an honest book, and that's what war does to men. And there's nothing fine and noble about dying in the mud unless you die gracefully, and then it's not only noble but brave. Zelda Fitzgerald: Did you read my story? What'd you think? Ernest Hemingway: There was some fine writing in it, but it was unfulfilled. Zelda Fitzgerald: I might have known you'd hate it.
