We live in a world of banal miracles.

All we have is the story we tell. Everything we do, every decision we make, our strength, weakness, motivation, history, and character-what we believe-none of it is real; it's all part of the story we tell.

He found himself inhabiting the vast, empty plateau where most people live, between boredom and contentment.

Life, he thought, is a blatant act of imagination.

What business does memory have with time?

Here for business or pleasure, Mr. Wheeler?""Redemption," Shane says.

(…) my money guy Richard is going without a tie now, like a politician who wants to appeal to the suffering common man (or perhaps every morning his firm takes the ties and shoelaces away from the brokers and financial planners to keep them from offing themselves)

But it's not easy, realising how we fucked it all up. And that turns out to be the hardest thing to live with, not the regret or the fear, but the realisation that the edge is so close to where we live.

Two kinds of people always lie about their ages: actresses and Latin American pitchers.

Among the world's evils—fascism, ethnic cleansing, environmental degradation— smoking deserves the most severe curricular attention in my kid's school.

It was curious what trying to speak English had done lately to his mind; it reminded him of studying poetry in college, words gaining and losing their meaning, overlapping with images, the curious echo of ideas behind the words people used.

I have this theory, that this will be the only city that future archaeologists find, Las Vegas. The dry climate will preserve it all and teams of scientists in the year 5000 will carefully sweep and scrape away the sand to find pyramids and castles and replicas of the Eiffel Tower and the New York skyline and stripper poles and snapper cards and these future archaeologists will re-create our entire culture based solely on this one shallow and cynical little shithole. We can complain all we want that this city doesn’t represent us. We can say, Yes, but I hated Las Vegas. Or I only went there once. Well, I’m sure not all Romans reveled in the torture-fests at the Colosseum either, but there it is.

He wished he could reassure his mother: a man wants many things in life, but when one of them is also the right thing, he would be a fool not to choose it.

Always speak first to the toughest person in the room.

all we have is the story we tell. Everything we do, every decision we make, our strength, weakness, motivation, history, and character--what we believe--none of it is real; it's all part of the story we tell. But here's the thing: it's our goddamned story!

This is a love story, Michael Deane says. But, really, what isn’t? Doesn’t the detective love the mystery, or the chase, or the nosy female reporter, who is even now being held against her wishes at an empty warehouse on the waterfront? Surely the serial murderer loves his victims, and the spy loves his gadgets or his country or the exotic counterspy. The ice trucker is torn between his love for ice and truck, and the competing chefs go crazy for scallops, and the pawnshop guys adore their junk just as the Housewives live for catching glimpses of their own Botoxed brows in gilded hall mirrors, and the rocked-out dude on ‘roids totally wants to shred the ass of the tramp-tatted girl on Hookbook, and because this is reality, they are all in love—madly, truly—with the body mic clipped to their back buckle, and the producer casually suggesting just one more angle, one more Jell-O shot. And the robot loves his master, alien loves his saucer, Superman loves Lois, Lex, and Lana, Luke love Leia (till he finds out she’s his sister), and the exorcist loves the demon even as he leaps out the window with it, in full soulful embrace, as Leo loves Kate and they both love the sinking ship, and the shark—God, the shark loves to eat, which is what the Mafioso loves, too—eating and money and Paulie and omerta` --the way the cowboy loves his horse, loves the corseted girl behind the piano bar, and sometimes loves the other cowboy, as the vampire loves night and neck, and the zombie—don’t even start with the zombie, sentimental fool; has anyone ever been more lovesick than a zombie, that pale, dull metaphor for love, all animal craving and lurching, outstretched arms, his very existence a sonnet about how much he wants those brains? This, too, is a love story.

The movie I was working on, "Cleopatra", it's about how destructive a force love can be. But maybe that's what every story is about.

erhaps it was the difference in age between the countries—America with its expansive youth, building all those drive-in movie theaters and cowboy restaurants; Italians living in endless contraction, in the artifacts of generations, in the bones of empires.

He considered it a shame when people couldn't grasp the infinite-a failure not just of imagination but of simple vision.

Ideas are sphincters. Every asshole has one. Your take is what counts.

I don't know what I expected – no maybe I do, Al Pacino from Scarface- but this drug dealer is more like Al Pacino at the beginning of The Godfather reasonably bemused, untouched by his criminal world, sitting with Diane Keaton whispering about Luca Brazzi, not yet asleep with the fishes, or like Al Pacino from Glengarry Glen Ross, although actually, now that I think about it, he's not like Al Pacino at all but more like Kevin Spacey from that film, and who's ever been afraid of Kevin Spacey?

(…) met the owner of this cozy book-and-candle Apt. G, a tall, leggy, striking girl named Bea or maybe just the letter B or maybe the insect Bee, not sure, her long blond hair pulled in a ponytail, her no-doubt banging body effortlessly buried beneath a pile of tights and sweaters and scarves – she is a walking coat rack – and as we shook hands, Bea fixed me with the most alarming blue-eyed stare of my life, the kind of stare in which you think some potent subliminal message is being passed along (Run away with me or maybe just Run away), (…)

Parenthood makes such sweet hypocrites of us all.

And while his mother's lecture had gone over his seven-year-old head, Pasquale saw now what she meant--how much easier life would be if our intentions and our desires could always be aligned.

I guess I forgot we were going out tonight.""We always go out on Fridays.""It's Thursday, Alvis.""You are so tied to routine.

Use beautiful to describe a sandwich, and the word means nothing.

Weren't movies his generation's faith anyway--its true religion? Wasn't the theater our temple, the one place we enter separately but emerge from two hours later together, with the same experience, same guided emotions, same moral?...what was that but a religion?

Put the fire out? Hell no. What we need to do is stoke it.

Maybe it's ALWAYS the end of the world. Maybe you're alive for a while, and then you realize you're going to die, and that's such an insane thing to comprehend, you look around for answers and the only answer is that the world must die with you.Sure, the world seems crazy now. But wouldn't it seem just as crazy if you were alive when they sacrificed peasants, when people were born into slavery, when they killed first-born sons, crucified priests, fed people to lions, burned them on stakes, when they intentionally gave people smallpox or syphilis, when they gassed them, burned them, dropped atomic bombs on them, when entire races tried to wipe other races off the planet? Yes, we've ruined the planet and melted the ice caps and depleted the ozone, and we're always finding new ways to kill one another. Yeah, we're getting cancer at an alarming rate and suicides are at an all-time high, and, sure, we've got people so depressed they take a drug that could turn them into pasty-skinned animals who go around all night dancing and having sex and eating stray cats and small dogs and squirrels and mice and very, very rarely- the statistics say you're more likely to be killed by lightning- a person.But this is the Apocalypse? Fuck you! It's always the Apocalypse. The world hasn't gone to shit. The world is shit.All I'd asked was that it be better managed.