"-Singing is the only thing that puts me right."
El último show (A Prairie Home Companion, Robert Altman, 2006)
sad sad sad (II)
20110331
{ singing }
"-Singing is the only thing that puts me right."
El último show (A Prairie Home Companion, Robert Altman, 2006)
sad sad sad (II)
{ not at all }
"-You're afraid that you're going to cry!
-I wouldn't.
-That's true. You wouldn't. That's why I think our romance was so short. I knew that when we broke up, you would not cry.
Does that makes sense to you?
-Not at all."
El último show (A Prairie Home Companion, Robert Altman, 2006)
sad sad sad
20110330
{ expedient exaggeration }
"-He knew you were lying.
-In the world of advertising there's no such thing as a lie. There's only "expedient exaggeration". You ought to know that."
Con la muerte en los talones (North by Northwest, Alfred Hitchcock, 1959)
20110329
{ I forgot everything }
"-I've never ridden on a motorcycle before. It's fast. It scared me.
But I forgot everything. It felt good. Is that what you do?"
Salvaje (The Wild One, Laslo Benedek, 1953)
vamos, que si me lleva a mí en moto yo también olvido todo
{ how lucky }
"-Think how lucky I am to have been seated here.
-Luck had nothing to do with it.
-Fate?
-I tipped the steward $5 to seat you here if you should come in."
Con la muerte en los talones (North by Northwest, Alfred Hitchcock, 1959)
20110328
{ They say }
Tres, dos, uno,...
Dicen (They say, Alauda Ruiz de Azúa, 2011)
Grande grande, y ya está aquí.
Para muestra un botón
They say - Trailer
20110324
{ cachondismo }
"-Creo que estoy muy necesitado en estos momentos.
O es eso, o es el vulgar y tradicional cachondismo."
Vivir hasta el fin (The living end, Gregg Araki, 1992)
un brindis por la primavera
20110323
{ puertas y puertas }
"-Imposible. Vigilan las puertas.
-Hay puertas y puertas."
Cleopatra (Joseph L. Mankiewicz, 1963)
yo de mayor quiero ser Cleopatra, esta Cleopatra
goodbye Liz
{ salto de cama }
"-Susan, te lo prohíbo. Te desheredaré.
No permitiré que te cases con un hombre que va en salto de cama."
La fiera de mi niña (Bringing up baby, Howard Hawks, 1938)
20110322
{ being ordinary }
"-We agreed there was only one crime we could commit, that of making a mistake. Being weak is a mistake.
-Because it's being human?
-Because it's being ordinary. I won't let either of us do."
La soga (Rope, Alfred Hitchcok, 1948)
{ nada malo }
"-No hacemos nada malo.
-Sois novios. Eso significa que no ves a otros chicos. Es como si estuviéseis comprometidos.
Tienes un baúl de esperanzas y lo estás llenando para él."
Los delincuentes (The delinquents, Robert Altman, 1957)
visto así parece hasta lógico
20110321
{ any pride }
"-Deanie, where's your pride?
-My pride? My pride? I don't want my pride!
-Deanie, stop it! Stop it, Deanie! Deanie stop!
-Go on, go on. I haven't any pride!"
Esplendor en la hierba (Splendor in the grass, Elia Kazan, 1961)
y perder la dignidad, así, entresemana...
20110320
{ just going with it }
"-How it happened, I don't know. But it could never happen again. Maybe I could have stopped it early. But once the trouble was on its way, I was just going with it."
Salvaje (The wild one, Laslo Benedek, 1953)
{ stand }
"-You're like this house. You suffer, you show your wounds, but you stand."
Guerra y Paz (War and Peace, King Vidor, 1956)
20110319
{ such a gay season }
"-Then the armies will be coming back.
-I suppose so.
-Moscow will be very gay and exciting. Pierre, why don't we stay here and not go to the country?
-Not this year.
-It'll be such a gay season."
Guerra y Paz (War and Peace, King Vidor, 1956)
I hope so
{ more attention }
"-Deanie Loomis?
-I'm sorry, Miss. Metcalf. I didn't hear the question.
-I know it's spring, but I must ask you to pay more attention."
Esplendor en la hierba (Splendor in the grass, Elia Kazan, 1961)
20110318
{ too much air }
"-Kenneth, there's too much air in your glass."
La soga (Rope, Alfred Hitchcock, 1948)
20110317
{ hello, champagne }
"-What would you say to some champagne?
-Hello, champagne."
La soga (Rope, Alfred Hitchcock, 1948)
20110316
{ corrientes circulares en el tiempo }
"-Shut up Mike.
If I'd know it'd been this hard to start, I wouldn't have stopped it at all."
Mi Idaho privado (My own private Idaho, Gus Van Sant, 1991)
20110315
{ tantos divorcios }
[continuación]
"-Por eso hay tantos divorcios. La gente se enamora de gente que no existe.
-No, pues para eso están las cuartas y las quintas citas, para lo perfecto.
-Me estás diciendo que mienta.
-No, te estoy diciendo que gustes, y luego ya se encargarán de conocerte."
Clases Particulares (Alauda Ruiz de Azúa, 2005)
en fin
20110314
{ head on }
"Tenía que irse a otro lugar.
El movimiento idealiza cualquier carretera."
The James Dean Story (Robert Altman & George W. George, 1957)
20110313
{ turn into nothing }
"-When we face these fears they sometimes turn into nothing."
Esplendor en la hierba (Splendor in the grass, Elia Kazan, 1961)
pero qué canción más triste,
goodnight
20110312
{ stayin' up }
"-We'll get there.
-It's not gettin' up there that bothers me. It's stayin' up there that I mind."
Los siete magníficos (The magnificent seven, John Sturges, 1960)
20110311
{ It ain't be me }
"-It's very like someone I was at college with. But the moustache makes quite a difference."
Crimen perfecto (Dial M for murder, Alfred Hitchcock, 1954)
{ in stories }
"-In stories, things turn out the way the authors wants.
And in real life, they don't, always."
Crimen perfecto (Dial M for murder, Alfred Hitchcock, 1954)
wellcome, mr. Hitchcock
20110309
{ sad face }
"-So why the sad face?
-Job requirement, happy piano players work the circus."
Beautiful Girls (Ted Demme, 1996)
20110307
{ you drunk? }
"-You drunk?
-I don't know, but you both look very beautiful."
Beautiful Girls (Ted Demme, 1996)
{ man wanted }
"-Not worry about your future?
-I got plenty of time for that. Besides... maybe my future starts right now.
-Well, good luck."
El cartero siempre llama dos veces (The postman always rings twice, Tay Garnett, 1946)
20110306
{ thanks for the ride }
"-Thanks for the ride, the three cigarettes and for not laughing at my theories on life."
El cartero siempre llama dos veces (The postman always rings twice, Tay Garnett, 1946)
20110305
{ something beautiful }
"-I just want something beautiful, Mo.
-We all want something beautiful, Willie."
Beautiful Girls (Ted Demme, 1996)
+++
The Magnetic Fields – 69 Love Songs
1999
+
The Magnetic Fields – 69 Love Songs
1999
+
tengo que decir que no me gustaría nada tener que vivir sin este disco
{ the longed-for moment }
"-Is that it? The longed-for moment?
-Well, what's wrong with it?
-It's too fucking brief. I was looking for something more linguering."
The History Boys (Nicholas Hytner, 2006)
chin pun
20110304
{ don giovanni }
"-Estoy encantada ¿Qué vamos a ver?
-Don Giovanni.
-La historia de Don Juan.
-Yo sólo la veo como una ópera de Mozart.
-Malditos Don Juanes. Deberían cortales el jodido pene."
Maridos y mujeres (Husbands and wives, Woody Allen, 1992)
Ay Judy (Davis)
20110303
{ splendor in the grass }
"Thought nothing can bring back the hour
Of splendor in the grass, of glory in the flower,
We will grieve not, rather find
Strenght in what remains behind"
Esplendor en la hierba (Splendor in the grass, Elia Kazan, 1961)
20110302
{ a question of time }
"-Hoy va a otra de sus innumerables fiestas.
-Eso me hace muy desgraciado.
-¿El qué?
-Que esté tan solicitada. Todo me resultará más difícil."
La heredera (The Heiress, William Wyler, 1949)
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