50 BEST PICK-UP LINES FROM THE MOVIES

I don't know how I found this, but I love pick-up lines and I love movies so here you go. It's on Dominic Knight's blog and what a cool blog it is.

Reprinted without permission!

The 50 best pick-up lines from the movies

April 14, 2005

It might be the first thing he says to her or the last, a desperate opening gambit or a sharp response, the quip that gets the girl or the one that sends her packing. One way or another, they’re the lines I wish I’d thought of first...

"I gotta warn ya, every man I've ever gone out with has been ruined."
"Well, that's what they get for messing with my girl."
(Annette Benning and Warren Beatty, Bugsy, 1991)

“Your husband told me you were the most beautiful woman he'd ever seen, but he didn’t say anything about the most beautiful woman I'd ever seen.”
(George Clooney to Catherine Zeta-Jones, Intolerable Cruelty, 2003)

“I used to live like Robinson and Crusoe, shipwrecked among eight million people. But one day I saw a footprint in the sand and there you were.”
(Jack Lemmon to Shirley Maclaine, The Apartment, 1960)

"You came back to this bar to see me tonight, didn't you."
"What if it wasn't you I came here to see tonight?"
"Well, ya’ got lucky."
(Paul Newman and Charlotte Rampling, The Verdict, 1982).

“I really wish that you'd come home with me. You're so cute and I'm really good in bed, believe me. You smell good, too.”
(Nicholas Cage to Valeria Golino, Leaving Las Vegas, 1995)

“Do you have any boyfriends?”
“Not really.”
“Are they crazy? If I was a fellow, I'd be around all the time.”
(Steve Martin and Bernadette Peters, The Jerk, 1979)

“You make me want to be a better man.”
“That's maybe the best compliment of my life.”
“Then I've really overshot here, 'cause I was aiming at just enough to keep you from walking out.”
(Jack Nicholson and Helen Hunt, As Good As It Gets, 1997)

“Do we know each other?”
“Why, do you think we're going to? Because I already know an awful lot of people and until one of them dies I couldn't possibly meet anyone else.”
“Well, if anyone goes on the critical list, let me know.”
(Cary Grant and Audrey Hepburn, Charade, 1963)

“Here y'are, baby. Take this, wipe the lipstick off, slide over here next to me and let's get started.”
(Jerry Lewis to Stella Stevens, The Nutty Professor, 1963)

“Oh man…do you have change for a dollar? All I’ve got are these stupid Nepalese coins.”
“You've been to Nepal?”
“Not in months. I don't know why I bought the damn place.”
(Matt Dillon and Cameron Diaz, There’s Something About Mary, 1998)

"You know, when you blow out the match, it's an invitation to kiss you."
(John Gilbert to Greta Garbo, Flesh and the Devil, 1926)

“Everyone's been so nice to me.”
“Well that’s cause you've got big jugs.”
(Krista Allen and Jim Carrey, Liar Liar, 1997)

“We live in a cynical world. A cynical world. And we work in a business of tough competitors. I love you. You...complete me.”
(Tom Cruise to Renee Zellweger, Jerry Maguire, 1996)

“I would give anything if you were two people, so I could call up the one who is my friend and tell her about the one I like so much.”
(Albert Brooks to Holly Hunter, Broadcast News, 1987)

“Shall we shag now, or shall we shag later? How do you like to do it? Do you like to wash up first? You know, top and tails? Whores bath? Personally, before I'm on the job, I like to give my undercarriage a bit of a how's your father!”
(Mike Myers to Elizabeth Hurley, Austin Powers: International Man of Mystery, 1997)

“Rhett, don't. I shall faint.”
“I want you to faint. This is what you were meant for. None of the fools you've ever known have kissed you like this, have they?”
(Clarke Gable to Vivian Leigh, Gone With The Wind, 1939)

“Are you a Bewitched man, or a Jeannie man?”
“Bewitched, all the way, though I always dug how Jeannie always called Larry Hagman ‘master’."
(Uma Thurman and John Travolta, Pulp Fiction, 1995)

“When I think of why I make pictures, the reason that I can come up with just seems that I've been making my way here. It seems right now that all I've ever done in my life is making my way here to you.”
(Clint Eastwood to Meryl Streep, The Bridges of Madison County, 1995)

"You're so beautiful, it makes me want to gag".
(Jimmy Stewart to Jean Arthur, You Can't Take it With You, (1938)

“Can you keep a secret? I'm trying to organize a prison break. We have to first get out of this bar, then the hotel, then the city, and then the country. Are you in or you out?”
“I'm in.”
(Bill Murray and Scarlett Johansson, Lost In Translation, 2004)

“God. You're a real live outlaw!”
“I may be the outlaw, but you're the one stealin' my heart.”
(Gina Davis and Brad Pitt, Thelma and Louise, 1991)

“What are you doing?”
“Nothing, I was just getting some lint off for you.”
(Drew Barrymore and Adam Sandler, 50 First Dates, 2004)

“Erm, look. Sorry, sorry. I just, erm…well, this is a very stupid question and...particularly in view of our recent shopping excursion, but I just wondered, by any chance, erm…er…I mean, obviously not because I guess I've only slept with nine people, b-but I just wondered...er…I really feel, um, in short, to recap it slightly in a clearer version, er, in the words of David Cassidy in fact, er…while he was still with the Partridge family, um, I think I love you, and, er, I just wondered if by any chance you wouldn't like to... er... er...no, no, no of course not... I'm an idiot, he's not...excellent, excellent, fantastic, um, I was going to say lovely to see you, sorry to disturb...better get on.”
“That was very romantic.”
“Well, I thought it over a lot, you know…I wanted to get it just right.”
(Hugh Grant and Andie McDowell, Four Weddings and a Funeral, 1994)

“Suck me, beautiful.”
(Chris Klein to Tara Subkoff, American Pie, 1999)

"I love that you get cold when it's seventy one degrees out; I love that it takes you an hour and a half to order a sandwich; I love that you get a little crinkle above your nose when you're looking at me like I'm nuts; I love that after I spend a day with you I can still smell your perfume on my clothes, and I love that you are the last person I want to talk to before I go to sleep at night. And it's not because I'm lonely, and it's not because it's New Year's Eve. I came here tonight because when you realize you want to spend the rest of your life with somebody, you want the rest of your life to start as soon as possible."
(Billy Crystal to Meg Ryan, When Harry Met Sally, 1989)

“I love you.”
“I know.”
(Carrie Fisher and Harrison Ford, Star Wars: The Empire Strikes Back, 1980)

“You've got a name, haven't you?”
“Yeah, I got a name. Peter Warne.”
“I don't like it.”
“Don't let it bother you. You're giving it back to me in the morning.”
(Claudette Colbert and Clark Gable, It Happened One Night, 1934)

“It's something that just happens. It's like seeing a person you never saw before - you could be passing on the street - you look at each other and for a few seconds, there's a kind of recognition. Like you both know something. But then the next moment the person's gone, and it's too late to do anything about it, but you remember it because it was right there and you let it go, and you think, "What if I had stopped and said something?" It might happen only a few times in your life.”
“Or once.”
“Why don't we get out of here.”
(George Clooney and Jennifer Lopez, Out Of Sight, 2001)

"Mind if I get drunk with you?"
Clark Gable to Jean Harlow, Red Dust, 1932)

“You're good looking, you got a beautiful body, beautiful legs, beautiful face, all these guys in love with you. Only you’ve got a look in your eye like you haven't been fucked in a year.”
(Al Pacino to Michelle Pfeiffer, Scarface, 1983)

“See, I've got this little problem. I've got a stalker…I need a cover. I need for you to pretend we're having a scintillating conversation, and you are wildly entertained.”
(Tom Cruise and Penelope Cruz, Vanilla Sky, 2001)

“Do you know I bought this house just so I could be across the bay from you? This ring’s the colour of the light on your dock.”
(Robert Redford to Mia Farrow, The Great Gatsby, 1974)

"Marry me, and I'll never look at another horse."
(Groucho Marx to Margaret Dumont in A Day at the Races, 1937)

“Speaking of horses, I like to play them myself. But I like to see them workout a little first, see if they're front runners or come from behind, find out what their whole card is, what makes them run….I'd say you don't like to be rated. You like to get out in front, open up a little lead, take a little breather in the backstretch, and then come home free.”
“You don't like to be rated yourself?”
“I haven't met anyone yet that can do it. Any suggestions?”
“Well, I can't tell till I've seen you over a distance of ground. You've got a touch of class, but I don't know how far you can go.”
“A lot depends on who's in the saddle.”
(Lauren Bacall and Humphrey Bogart, The Big Sleep, 1946)

“No, I can't. I can't!”
“If not for me, Helen, do it for your country.”
(Jamie Lee Curtis and Bill Paxton, True Lies, 1994)

"I hate being pawed."
"Maybe you've never been pawed properly."
(Loretta Young and Lyle Talbot in She Had to Say Yes, 1933)

“You know what you are? You're God's answer to Job, y'know? You would have ended all argument between them. I mean, he would have pointed to you and said, “Y'know, I do a lot of terrible things, but I can still make one of these."
(Woody Allen to Diane Keaton, Manhattan, 1979)

“That's what I like about you, Sergeant: you have confidence. It's also what I dislike about you.”
“It's not confidence, ma'am; it's honesty. I just hate to see a beautiful woman going all to waste.”
(Deborah Kerr and Burt Lancaster, From Here To Eternity, 1953)

"I have crossed oceans of time to find you."
Gary Oldman to Winona Ryder, Bram Stoker’s Dracula, 1992)

"Swoon. I'll catch you."
(Ralph Fiennes to Kristin Scott Thomas, The English Patient, 1996)

“That’s a nice dress. Where’s the rest of it?”
(Andy Garcia to Nancy Travis, Internal Affairs, 1990)

“So, did you sleep OK without me? You tossed and turned, didn't you.”
“You're incredible.”
“Who told you?”
(Bill Murray and Andie MacDowell, Groundhog Day, 1993)

“What do we do now, Nick?”
“Fuck like minxs, raise rugrats, live happily ever after.”
“Hate rugrats.”
“Fuck like minxs, forget rugrats, and live happily ever after.”
(Sharon Stone and Michael Douglas, Basic Instinct, 1992)

“I was bored to death. I hadn’t seen one attractive woman on this ship since we left. Now, isn’t that terrible? I was alarmed. I said to myself, ‘Don’t beautiful women travel anymore?’ And then I saw you, and I was saved - I hope.”
“Tell me, have you been getting results with a line like that, or would I be surprised?”
“If you’d be surprised, I’d be surprised.”
(Cary Grant and Deborah Kerr, An Affair to Remember, 1957)

“Every year I come down here in search of a human interest story. This year I found you. How do you find me?”
(Ian Hendry to Janette Scott, The Beauty Jungle, 1964)

“What do you want?”
“Are you kidding? I want you.”
(Mena Suvari and Kevin Spacey, American Beauty, 1999)

“I hate to see you go, but I love to watch you leave.”
(John Travolta to Joan Allen, Face/Off, 1997)

“Anyway, to make a long, dull story even duller, I come from a time when a guy like me used to come into a joint like this and pick up a young chick like you and call her a bimbo.”
(Marlon Brando to Maria Schneider, Last Tango in Paris, 1972)

“Your eyes are amazing do you know that? You should never shut them, not even at night.”
(Oliver Martinez to Dianne Lane, Unfaithful, 2002)

“Here’s looking at you, kid.”
(Humphrey Bogart to Ingrid Bergman, Casablanca, 1942)

ART AND ARCHITECTURE

Picasso once said, "Art is a lie that tells the truth." He was quoted in Ken Burns' American Stories. In this episode, Frank Loyd Wright is reviewed and his works analyzed. It ends with an interview of Wright.

Interviewer: Are you afraid of death?

Wright: Not at all. Death is a great friend.

Interviewer: Do you believe in your personal immortality?

Wright: Yes. Insofar as I am immortal, I will be immortal. To me, young has no meaning. It's something you can do nothing about. Nothing at all. But youth is a quality, and if you have it you'll never lose it. And when they put you into the box that's your immortality.

A FOREIGN AFFAIR

Sometimes I'll watch a movie and wonder if it's all that it's cracked-up to be. Why do critics say it's so good? Why is the director so famous? I think the true test is a movie's test of time - if it's good over 50 years later, then it's captured cinematic magic.

Jean Arthur plays Phoebe Frost a Congresswoman from Iowa. She meets John Lund who plays Captain John Pringle. She's in Berlin right after WWII to investigate the morality of GIs stationed in the American sector. If you know anything about Billy Wilder who directed this movie, you'll know that there's always some kind of twist in the plot that always questions our understanding of morality.

Anyway, it's a film most definitely worth watching. Here's a great scene with Jean Arthur explaining the wonders of love:

Frost: Oh John! I'm so happy I'm in heaven! Not that I was unhappy before. I was just drifting. That's it. Drifting on a gray sea all alone. It's not bad but suddenly you get scared. You need another voice. So you hoist up your heart and you wait. And nobody passes by, just gray waves. Your heart gets frayed in the sun. Lashed by the night winds and rain. So you haul it down, what's left of it. And you resign yourself. Then suddenly out of nowhere comes a boat so unexpected. All white sails are on the horizon. To you my beautiful boat!

WE CAN STILL BE FRIENDS

WORLD TRADE CENTER

I watched Oliver Stone's World Trade Center this evening courtesy of My Cinema Access. We got in free but had to wait about an hour to get into the theater at Paseo Colorado.

It is a great movie, absolutely worth watching. However, be prepared for an emotional ride. What is so fantastic about the movie is that it reminds one of both the horror of 9/11 and the heroism that followed. It will remind you of what is really important in life and urges you not to forget it. You will probably cry and if you don't, your eyes will water.

I predict the movie will get great reviews and I think the movie will make money. It's not a blockbuster, but it will generate word of mouth that will generate revenue. Bravo Oliver! Not since Platoon have I felt the power of your movies.

THE BAD AND THE BEAUTIFUL

Kirk Douglas plays a producer described as "ruthless" on TV Guide's summary. It's a 1952 film that portrays the inside world of Tinseltown. Although Douglas is described "ruthless", I see him more as a shrewd, complicated man willing to do whatever is necessary to get things done.

Here's a memorable scene with Lana Turner that is a lesson in life:

Georgia Lorrison: People who knew my father give me extra work and a line to say now and then. I drink what I want, see who I want. Who knows? Someday I may even get married to a nice, upright assistant to an assitant.

Jonathon Shields: And make him miserable for the rest of his life because you're a Lorrison. Haunted, born to live by make-believe. Look at you. You're acting now. Playing the doomed daughter of the great man. Well let me tell you something. The acting isn't good enough. It's a cheap performance of a bit player not a star. And that's all that it'll ever be until you can pull yourself out of this tomb. Until you can see people for who they really are - yourself as you really are. Until you can do this to your father's picture. (Shields draws a moustache and goatee on Lorrison's picture). And laugh the way he would have laughed. That's not a god talking Georgia. That's only a man.

(Shields breaks a record of Georgia's father across his knee. Georgia gives him an incredulous look and throws a bottle of wine at Shields then gets out of bed to attack him).

BUDDY LOVE

I watched The Nutty Professor with Jerry Lewis playing dual roles. As Buddy Love, Lewis' take on Mr. Hyde can teach little boys lessons on how to be suave with the ladies. After saying the following, his prey can only say, "Nobody's ever said anything like that to me before. Nor can I remember a more honest approach to two people being together."

"Yeah, if you don't believe in idle chatter and a lot of small talk, yeah I'm deranged. Or would you prefer that I conduct myself like the little boys you're accustomed to dating? Now you know darn well that nothing delights us more than being enjoyed, appreciated or just plain liked by someone right? Now, you're not gonna tell me that you're here with me now because I don't appeal to you, and I'm sure that you can see, I dig you pretty good too, right? Well, isn't easier to say so? Or would you much prefer that I use a lot of that phoney dialogue I'm sure you've heard at least half a dozen times before? So you see Stell, when I tell you that you're a vibrant, beautiful, exciting woman, you can believe me. You can bet it's the truth 'cause I'd have to be a complete idiot not to want to hold you, and kiss you, and make our time together a warm, wonderful moment that could grow and develop into many moments, many hours and into something really important."

dE LEON PROJECTS

I always have grandstanding ideas about documenting my family's history. I know it sounds broad, but I'm a little obsessive about recording in some fashion the things my family has done and what they are currently doing. You see, a simple recording today is a treasure trove of information in the future. Not the near future, but say over 20 years. Twenty years ago, I was a teenager, nearing my Sweet 16. I never really understood why 16 is supposed to be so sweet. That statement clearly defines my state of virginity.

I love recording family events, but I have grown tired of it, succumbing to my general state of laziness. Still, I have ideas that float around in my mind that never really become a reality (most of the time). One example is the family DVD of one of our reunions. I shot some sweet footage and then realized, holy shit, there sure is a lot to edit here and guess what - I'm the only one that is doing this. Imagine all that time I'd have to spend on it! I've had years to work on it, but again, it has succumbed to my general state of laziness and apathy. But I aim to change that.

Anyway, what if you took a small, digital recorder that could record hundreds of hours of audio. And what if you sent that recorder with some audio and written instructions of what to do. The idea is simple: Record anything you want. You can listen to what others have recorded but you continue recording from the end. Then, you send the recorder somewhere else, to someone else in the family. The instructions would say that you need to return it to the original sender when all the audio space has been taken up. Wouldn't that be a interesting thing to listen to? What people have to say about life in general or what's going on or how they are feeling. None of these things travel with you when you're gone, so why not leave some kind of record? It can become as old as the Egyptian pyramids (and will).