Stephanie: Hey look, where I work, the people are very remarkable. They're not like these Bay Ridge people at all.
Tony: You mean snobs instead of slobs, right?
Stephanie: What?
Tony: Nothing. Hey y'know Bay Ridge ain't the worst part of Brooklyn, you know what I'm talkin'... I mean it ain't like a hellhole or nothing.
Stephanie: Yeah well it ain't Manhattan...it isn't Manhattan. You have no idea how it changes. Y'know just right over there, right across the river, everything is different, completely different. It's beautiful, just beautiful! People are beautiful, offices are beautiful. Secretaries y'know they all shop at, ah, Bonwit Taylor [sic].
Tony: Oh yeah?
Stephanie: And like the lunch hours are beautiful, too. Like you know they'll give you like two hours for lunch to do something that's related.
Editor's note: I do not judge Stephanie for wishing to trade getting a crappy job where you punch a clock with a job where they actually let you take a two-hour lunch. Also, if you are older, you will have picked up from that scene that a man and a woman having lunch without it being romantic was rather new.
What I like about playing America is you can be pretty sure you're not going to get hit with a full can of beer when you're singing and I really enjoy that!
When you blame yourself, you learn from it. If you blame someone else, you don't learn nothing, cause hey, it's not your fault, it's his fault, over there.
This tune is going out to Marconi!
Money is power; it can make things possible. But if I felt I was doing all this just to get as rich and as fat as possible, it just wouldn't be the same feeling.
The trouble with this interview is that you're interviewing me as though I'm a success, and I feel I'm a failure. I only see the disappointments. We're angry because everything we do turns to ash. We're not fulfilled yet. But there will be a time when our work is done.
I'm good at thinking outside the box, so much that you realize it's not a box to begin with.
There's only one type of music and that's good music, no matter what genre it is.
There are five issues that make a fist of a hand that can knock America out cold. They're lack of jobs, obesity, diabetes, homelessness, and lack of good education.
It should be mandatory that you understand computer science.
When someone is denying what they are, then that's when things start to spiral down.
I don't follow waves or trends or emotions.
I don't want to hope anymore. I don't think we should hope anymore. We hoped enough. Now we have to do. We all have to do now.
If I didn't mould my reality then I'd still be in the ghetto where people like me are supposed to stay. You have to dream your way out of the nightmare.
If Apple's a technology company in the music industry, why can't somebody in the music industry make technology?
If you live in a ghetto and really want not to just change your life and your family's life but change your ghetto's life, make your ghetto a good neighborhood, learn science; try to be like Mark Zuckerberg, Bill Gates and Steve Jobs.
I like all the families in the U.K. But what I like about the idea of the royal family is... they seem like they're well educated and there's something admirable about them. And the Queen... she reminds me of my grandma.
If you live in a good neighborhood, you drive home and there's a bank. There's grocery stores and big houses - but no motels. What that tells you psychologically is you protect your money and buy good things for your family to eat in your nice big house.
Code writers, they are my idols.
When you think about the guys who started Twitter, and the Google guys, and the Facebook guys and the Napster guys, and the Microsoft guys, and the Dell guys and the Instagram guys, it's all guys. The girls, they're being left behind.
We need to forge a whole new energy and American Dream.
We all rely on technology to communicate, to survive, to do our banking, to shop, to get informed, but none of us knows how to read and write the code.
If you have a vaccine or an antidote that people can benefit from, you're not going to want to keep it to yourself. You're going to want to spread that wisdom or whatever to as many people as you can, so everybody can benefit from it.
I've got Republican fans. Republicans like the Black Eyed Peas.
You want to play stadiums? You listen to U2. You study it for harmonics, the vocal placement, the freaking chord progressions, their lyrics. You study the production. You study it because studying that equals stadiums.
There's an entry point to any relationship.
We need creative people working with broadcasters, making smart content to inspire people to be geniuses.
[during the Le Mans race]
Leo Beebe: I was thinking, Mr. Ford. Wouldn’t it be great if all three Fords lined up across the finish line at the exact same time? They’ll lined up and came home together. Ford, Ford, Ford.
Lee Iacocca: I don’t think we can actually do that, sir.
Leo Beebe: Why not?
Lee Iacocca: Miles is laps ahead, Leo. What would you have him do, slow down?
Leo Beebe: Yeah.
[referring to Ford]
Carroll Shelby: They want you to slow down.
Ken Miles: Run that by me again.
Carroll Shelby: They want you to slow down. You’re outshining their car, Ken. You’re four minutes up on McLaren. The Deuce wants the three Fords across the finish line, one, two, three, all together. They’re asking that you be a team player, and make that photograph happen for them.
Ken Miles: A photograph, that’s good. That is good!
Carroll Shelby: Ken, even if you tie for first, you’d still be the first man ever to win Sebring, Daytona, and Le Mans in the same year. You’ll have a triple crown.
Carroll Shelby: Look, I didn’t get… I haven’t been able to get you to follow an order since day one. Whatever you want to do is fine with me.
Ken Miles: My choice?
Carroll Shelby: Your choice.
[during the Le Mans race]
Leo Beebe: Bring him in, right now! He’s out of control! Now you bring him in, before he wrecks that car and we don’t finish! Bring him in, Shelby. Or I will get you banned from the SCCA and the FIA.
Carroll Shelby: Ken Miles is behind the wheel, Leo. That’s his car to the finish.
ON THE TRACK
Miles in total control. On the Mulsanne straight, opens it
up. The trees strobe. Miles goes faster. Faster.
IN THE LE MANS COMMITTEE
BEEBE: What the hell is he doing?
Beebe crosses to the phone. Dials furiously.
IN THE PIT. THE PHONE RINGS.
Carroll Smith crosses to answer. Shelby glares:
SHELBY: Do not answer that.
ON THE TRACK
Miles slingshots into the final straight at 232MPH.
MILES is flying now. Man and machine as one...
IN THE CAR
Miles smiles and begins his final maneuver. Passing one, two,
three, four, five cars..
IN THE PITS
Shelby watches as Miles navigates the hairpin. Remington
stares at his stopwatch. Charlie looks over his shoulder.
CHARLIE: ...he’s gonna break his own record.
REMINGTON: Shut up.
ON SHELBY, CLOSE:
SHELBY: Wait for it. Wait for it. Hold hold.
(Then)
Now.
Uber didn't just need more women engineers, or more employees of
color. It needed to stop breaking the law .... It didn't
matter how many black engineers we hired, if they were discriminated
against; it didn't matter how many women we put into positions of power,
if those women perpetrated or enabled the illegal behavior.
[Eve] Arnold photographed Aimée, who talked about her role as the character Justine. Justine was also Jewish. Arnold recalls one of their talks:
I am still haunted by two things she quoted. They seemed to say more about her than anything else I experienced with her during the three weeks I knew her on the film:
Quote from Treblinka: "The Jews are prone to anguish but seldom given to despair."
And a quote by an anonymous Jewish poet to his wife when the Nazis came to get them: "Till now we have lived with fear, now we can know hope."
Arnold, Eve. Film Journal, Bloomsbury Publishing (2002) pp. 193-194
