Inferior Quotations

IQ: Just play my favorite movie.

IQ: The ozone layer, I whispered.

Eugene Fitzpatrick: …, she couldn’t go on living like this.

IQ: I love how traipsey she entered the Rover.

Digital Sandwich Board:
NUCLEAR
SATTELITE
GOES
BERSERK!

IQ: Is it spelled wrong?

Anonymous IMDb contributor: Early in the film, just before she takes off for Berlin, Claire can be seen reading the French edition of Goethe's Die Wahlverwandtschaften ("Elective Affinities", or as seen in the film "Les Affinités électives"). The novel, often described as Goethe's best and at the same time his most enigmatic, combines elements of Weimar Classicism, such as the plot layout as a scientific parable, with an opposing tendency towards Romanticism. The term "elective affinities" was originally a scientific term from chemistry, once widely used by scientists such as Robert Boyle, Isaac Newton and Antoine Lavoisier, at first to describe exothermic chemical reactions and later to refer to chemical reactions in which one ion would displace another. Goethe applied this understanding from physical chemistry as a metaphor for human passions supposedly being governed or regulated by such laws of chemical affinity, and examined whether the laws of chemistry somehow undermine or uphold the institution of marriage, as well as other human social relations.

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IQ: Then later it’s Winter or someone scoffing at the other non-Eugene male figure for caring that Goethe, not his own dreams, will be lost to the ether or wherever.

IQ: It’s Eugene Fitzpatrick scoffing at Phillip Winter.

Eugene Fitzpatrick: Basta’ds. Two years of my life just … wiped.

Phillip Winter: Oh who cares about your work. What do you think is going to happen to Goethe; think about that. Goethe. Gone foreva.

Eugene Fitzpatrick: Goethe; what the fffuck! would you know about Goethe.

Phillip Winter: What do you know about me. Do you think I’m just a pigeon in a hole.

Phillip Winter: C’est la fin du monde. No?.

Sam Farber, alias Trevor McPhee: Okay where’s my opal.

IQ: This isn’ on I-Em-Dee-bee.

IQ: One seventeen oh five.

IQ: Wait a minute Mister Winter. I wan’ my opal, back. please.

IQ: One seventeen thirty-two-thirty-three. This cut is so economical, coyly? seemingly a product of the “Reader’s Digest” cut, and in the context of the director’s cut, brisk, and fun abutting the clean rusty crash scene. And the violin.

Eugene Fitzpatrick: Soon they were hooked, all of them. They lived to see their dreams, an’ when they slept, they dreeamed about their dreams. They had arrived at the island of dreams together, but in a short time, they were oceans apart. I watched helplessly as Claire an’ Sam were drowning in their own nocturnal imagery. They ignored each other, an’ neglected themselves. The dreams which should have been flushed away with the first yawn were now their only diet, an’thus became more an’ more concentrated. They made monsters for themselves that they could neither tolerate nor do without.

Sam Farber, alias Trevor McPhee: Each time I get to this part of this dream it gets blurry. I’ll dream this again I can make that clearer. No I can steer it into a whole new direction.

Eugene Fitzpatrick: They wandered in an’ out of lost worlds. Feelings and figures emerged from a forgotten past. Their dreams became black holes of isolation.

IQ: Venice?

Eugene Fitzpatrick: They suffered finally from a complete loss of reality.

White Arial Regular: The child I am is so happy, and then I fall. Why does she always fall. Don't leave me all alone. Why do you leave her so alone? The fall! Wait. The solitude. The fear.

Claire Tourneur: AAAAAAHHHHHHH AAAEEHHHHHHH AHHHH EEHHHH AHHHHHHHHHHHHH!

Eugene Fitzpatrick: I’d always cherished the beginning of the gospel according to John. In the beginning was the word. I was now afraid that the apocalypse would read, In the end there were only images. I didn’know the cure for the disease of images. All I knew was, how to write. Winter had once said to me Words won’t help us now Mister Fitzpatrick. But words were all I had.

Claire Tourneur*: Whew.

IQ: *No, that’s me.

IQ: Cycles and contrasts.

IQ: The… Wim [or the cameraperson, -man I think] dilates the aperture at the mountainous shape here like he does in the service station rest area when Travis Henderson walks in and heroically avoids the beer.