Quotes: Do Not Do This Cool Thing
Mrs Mason: In the other cinema there is a dreadful thing called Our Painted Daughters. How they allow such filth onto the screen...
Narrator: Mrs Mason accepted a glass of a rather young red wine to accompany her salad and continued her condemnation, with the result that the entire company resolved to see Our Painted Daughters at the earliest opportunity. Even Dot, who was a self-confessed Good Girl, found herself interested.
— Kerry Greenwood, Dead Man's Chest
Huey: Tell 'em that marijuana isn't nearly as dangerous as tobacco or alcohol, but it will make you say stupid things and laugh at stuff that aint funny. That's a very good reason not to use it!
Caesar: Huey, you forget that most people don't find smiling and joviality as offensive as you do.
Bender: You're watching Futurama, the show that does not advocate the really cool crime of burglary.
—"Futurama", "Bender Should Not Be Allowed On Television"
Weaver: Itís the same, being a villain. I went there, I did that for a few months. Risked my life, hurt people, made an incredible amount of money, but I look back, and it wasnít worth it. I value the people I got to know and love far more than I do the money, the power, the fame. Theyíre the only thing I regret leaving behind.
We are legally required to tell you that stealing is wrong, and you shouldn't do it.
—Okami-San (while Ryoshi is rifling through a boy's bag)
"Stein goes down with a snarky one-liner about the Daleks being just in time for the fun before he suicides to destroy them all. [Lawrence] Miles and [Tat] Wood describe it as 'adolescent,' but thatís not the real problem. The problem is that itís macho action movie posturing of the most stereotypical kind. In other words, itís exactly the sort of thing the story is supposedly critiquing. And yet in this scene itís played as a big, cathartic moment.... And this is the problem. [Eric] Saward is writing a critique of violent storytelling, but he has a very muddy sense of where the line is. To constantly push the line as setup to a big about face and moral point requires a meticulous sense of what that line is. And Saward doesnít have it. He enjoys giggling like a schoolboy at the violence of it all too much."
"It doesn't matter how big the warnings on the cigarettes are; you could have a black pack, with a skull and crossbones on the front, called TUMORS, and smokers would be around the block going, 'I can't wait to get my hands on these fucking things! I bet ya get a tumor as soon as you light up!'"
—Denis Leary, No Cure for Cancer
"But, the moralists will howl, this makes crime look glamorous and rewarding! Well guess what? Crime is rewarding, and if you can do it on a big enough scale, you can even buy some glamour. So why are you shooting the messenger?"
"As the camera glides over Joan's gigantic bust and hourglass hips, as it languorously follows the swirls of cigarette smoke toward the ceiling, as the clinking of ice in the glass of someone's midday Canadian Club is lovingly enhanced, you can't help thinking that the creators of this show are indulging in a kind of dramatic having your cake and eating it, too: even as it invites us to be shocked by what it's showing us (a scene people love to talk about is one in which a hugely pregnant Betty lights up a cigarette in a car), it keeps eroticizing what it's showing us, too. For a drama (or book, or whatever) to invite an audience to feel superior to a less enlightened era even as it teases the regressive urges behind the behaviors associated with that era strikes me as the worst possible offense that can be committed in a creative work set in the past: it's simultaneously contemptuous and pandering."
"It wants to have morally-grey characters and tell a story critical of Aiden's own vigilantism....It wants to make a point about how these characters feel conflicted or guilty or conflicted about what they do, and weirdly sympathetic moments come from these complications. But the other half the game really wants to be like Batman. It wants to have villains who laugh maniacally; wants to make the experience off being Aiden into this cool guy power fantasy about having gadget-y superpowers, while also ham-fisting in a science fiction overtone into a world which is played fairly realistically. It wants to convey a message about hi-tech surveillance is creepy and evil, even though you end up using high-tech surveillance to fight crimes way better than the cops can fight crimes."
"Can a video game use shooty gameplay to induce emotions other than visceral joy, or will the intended message inevitably be overlooked by an audience who are probably trying to have fun shooting things?"
"There is talk that many Vietnam films are antiwar, that the message is war is inhumane and look what happens when you train young American men to fight and kill, they turn their fighting and killing everywhere, they ignore their targets and desecrate the entire country, shooting fully automatic, forgetting they were trained to aim. But actually, Vietnam war films are all pro-war, no matter what the supposed message, what Kubrick or Coppola or Stone intended. Mr. and Mrs. Johnson in Omaha or San Francisco or Manhattan will watch the films and weep and decide once and for all that war is inhumane and terrible, and they will tell their friends at church and their family this, but Corporal Johnson at Camp Pendleton and Sergeant Johnson at Travis Air Force Base and Seaman Johnson at Coronado Naval Station and Spec 4 Johnson at Fort Bragg and Lance Corporal Swofford at Twentynine Palms Marine Corps Base watch the same films and are excited by them, because the magic brutality of the films celebrates the terrible and despicable beauty of their fighting skills. Fight, rape, war, pillage, burn. Filmic images of death and carnage are pornography for the military man; with film you are stroking his cock, tickling his balls with the pink feather of history, getting him ready for his real First Fuck. It doesn't matter how many Mr. and Mrs. Johnsons are antiwar — the actual killers who know how to use the weapons are not."
—Anthony Swofford, Jarhead