Why We Broke Up Life Imitates Art Quotes

And then I gaped, I really did. I had to show you, because it wasn't something you could see right away, a route to take to a place to go, an opening of the story that could make October 5 a movie as lovely as the one we'd just seen (5.36)

"I was too jitterbuggy happy to sleep, and the whole day kept playing in my brain's little screening room. […] Joan had to tell me what dailies are, it's when the director takes some time in the evening, while smoking, to see all the footage that was filmed that day. (7.3)

My face must have shown that I thought it was beautiful and gorgeous.

"I told you," you said. "I knew you would like this."

You kissed me and I let you think, wanted to agree, that you were right. "It'd be a great opening shot," I admitted, staring out. "Wish I had a camera." (15.2-15.4)

It was a magical thing, early enough for the park to hold a hush, the mood still and strange like With My Own Two Eyes, the scene where…a rustle comes from the bushes and slowly, slowly, carefully, a unicorn emerges and walks in a hushed calm across the misty lawn, and the story of the movie moves to some stranger place. I had that feeling in Boris Vian Park, that anything might happen. (17.1)

"You've made, Min, everything different for me. Everything's like coffee you made me try, better than I ever—or the places I didn't even know were right on the street, you know? I'm like this thing I saw when I was little, where a kid hears a noise under his bed and there's a ladder there that's never been there before, and he climbs down and, it's for kids I know, but this song starts playing…." (17.22)

The world was getting worse I guess, like this Japanese remake of Rip Van Winkle called The Gates of Sleep that Al and I left early from, each time the hero awoke it was more depressing, wife dead, sons drunks, city more polluted, emperors more corrupt, the war dragging on more and more bloody. (29.42)

I have a feeling, I can see it, that if I struggled my way to the Blue Rhino again to find it, there would be no Blue Rhino. It would be a burned-out door maybe, or a brick wall caked with age and grime to show it had been a brick wall forever and the whole safe and sheltered afternoon had been some wish or dream taken back. Like the sad, sad scene in Sea of Souls where Ivan Kristeva revisits all the old haunts—haunts is how the subtitles put it—and we see that this happiness was some phantom now gone forever. (30.1)

I had such, you would not believe the such a feeling I had. You couldn't film it, it couldn't be captured. It couldn't happen almost, but there it was happening anyway. (33.25)

There are so many movies like this, where you thought you were smarter than the screen but the director was smarter than you, of course he's the one, of course it was a dream, of course she's dead, of course it's hidden right there, of course it's the truth and you in your seat have failed to notice in the dark. I could see them all, every reveal that ever surprised me, but I could not see this one, or know how I could not have known. (39.40)

It was an ocean, a canyon of awful. I couldn't see it, some scene in a flower shop. Stop gulping, is what I thought to myself. Your expression is moronic in the reflection of the glass door. And now she's going to say, I'd predict scornfully sitting through this movie at home, How long has this been going on?

And I said it. (40.51-40.52)