Holly Hunter Quotes


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The Quotable Holly Hunter
flixster.actor.standard.02.162659069 - flixster
Do you hang on Holly Hunter's every word?
Click the EasyEdit button to add your favorite quotes to these sections below:

  • Most famous lines
  • Personal quotes about career and life
  • Hearsay: quotes by others
Holly Hunter's Famous Lines
Replace this image with a character photoMovie/TV title: Thirteen
Character name: Melaine Freeland
Quote(s):
Melanie: I love you and your brother more than anything in the world. I would die for you, but I won't leave you alone right now.

Melanie: How do you explain $860 in your wallet?
Tracy: We jacked it, okay? God, Mom, you knew what was going on with all those clothes and shit. Not even you're that dumb...
Melanie: [shouts] I didn't know it went that far.

[the girls walk out in two matching cut-up halter tops]
Tracy: Well, what do you think? Are we hot or what?
Mel: That WAS your brother's favorite t-shirt.

Melanie: Goddamn dollar-fifty-a-square-foot floor!

[after dying Cynthia's hair]
Melanie: If this gets you laid, you owe me double.

Melanie: What is that?
Tracy: [whispers] It's a belly-button ring.
Melanie: Speak up, I can't hear you.
Tracy: ITS A BELLY-BUTTON RING! HOW ELSE CAN I SAY IT, I DON'T SPEAK NO OTHER LANGUAGES! Oh, and you wanna know what that is,
[sticks out her tongue]
Tracy: that is a tongue ring.

Melanie: You're my heart.

Tracy: Mom! I have to go to the bathroom, *now*.
Melanie: Can't you hold it a minute?
Tracy: That's how you get a bladder infection, you child abuser!
Melanie: That's dramatic.

Melanie: Have you been drinking?
Mason: Of course she has because she's always FUCKING DRINKING, isn't she?
Tracy: Oh, like you never have!
Brady: Hey, what's going on?
[Kayla begins crying]

Brooke: We'll be moving up to Ojai so you won't be seeing Evie again... ever. You're really cruel, Tracy. I mean, I'm sure you can be a sweet kid when you want but right now you are a really bad influence! I mean you cheat, you lie, you steal
Tracy: [shouts] Oh, my God! Are you kidding me? Where do you think I *learned* all this shit from?
[Tracy walks off into the kitchen]
Melanie: Tracy was playing with Barbies before she met Evie!
[follows Tracy into kitchen]
Brooke: [along with Evie, follows Tracy and Melanie into kitchen] Oh what? Did she teach her to beat the crap out of her as well
[grabs Tracy by the arm]
Brooke: Don't even start with me little one, I've seen the bruises!
Tracy: What the hell did you tell her, Evie?
Brooke: [turns to Evie] Come here... What about this?
[shows scrape by Evie's hairline that Tracy accidentally made when the two girls were play fighting]
Tracy: [shouts] What the fuck? We were just goofing!
Melanie: Tracy didn't hit her!
Evie: [shouts] Yes, she did!
Tracy: [shouts] I don't believe this shit! She hit me too! She hit me too!
Brooke: [grabs Tracy's arm and struggles with Tracy to pull back her sleeve] And look at this, Mel!
Melanie: Take your hands off her!
Tracy: No! Don't you dare! No, don't, please!
[starts crying as the cuts on her are revealed when Brooke pulls down her sleeve]
Brooke: See! She cuts!
Tracy: [crying] That's none of your business you *fucking* Frankenstein!
Brooke: Oh, no, this child is my business, you little cunt!
Melanie: That's enough, you have to get out.
[Brooke and Evie slowly start to walk out]
Melanie: Now!
Brooke: [softly] C'mon Evie, let's go.
Evie: [crying] Who would wanna stay in this shit hole anyways?
[screams]
Evie: It fucking stinks in here, Mel!
Replace this image with a character photoMovie/TV title:O Brother, Where Art Thou?
Character name:Penny McGrill
Quote(s): Ulysses Everett McGill: Why are you telling our gals that I was hit by a train?
Penny Wharvey McGill: Lots of respectable people have been hit by trains. Judge Hobbie over in Cookville was hit by a train. What was I gonna tell them, that you got sent to the penal farm and I divorced you from shame?
Ulysses Everett McGill: Uh, I take your point. But it does put me in a damn awkward position, vis-a-vis my progeny.

Penny Wharvey McGill: Vernon here's got a job. Vernon's got prospects. He's bona fide. What are you?

Penny Wharvey McGill: The only good thing you ever did for the gals was get hit by that train!

Penny Wharvey McGill: I've spoken my piece and counted to three.
Ulysses Everett McGill: She counted to three. Goddamit! She counted to three. Sonofabitch!

[last lines]
Penny Wharvey McGill: Well, we need that ring.
Ulysses Everett McGill: Well that ring is at the bottom of a pretty durn big lake.
Penny Wharvey McGill: Uh-uh.
Ulysses Everett McGill: A 9,000 hectare lake.
Penny Wharvey McGill: I don't care if it's 90,000...
Ulysses Everett McGill: But honey...
Penny Wharvey McGill: that lake was not my doing.
Ulysses Everett McGill: Of course not honey...
Penny Wharvey McGill: I counted to three, honey.
Ulysses Everett McGill: No, wait, honey! Finding one little ring in the middle of all that water is one hell of a heroic task!
Replace this image with a character photoMovie/TV title: Crash
Character name: Helen Remington
Quote(s):
James Ballard: You had sex with all those men in cars? Only in cars?
Helen Remington: Yes. I didn't plan it that way.
James Ballard: Did you fantasize that Vaughan was photographing all these sex acts as though they were traffic accidents?
Helen Remington: Yes. They felt like traffic accidents.

[Ballard is giving Helen a lift; she's wearing a white coat]
James Ballard: Where can I take you?
Helen Remington: To the airport.
James Ballard: You're not leaving?
Helen Remington: No, although not soon enough for some people. A death in the doctor's family makes patients uneasy.
James Ballard: [smiling] I take it you're not wearing white to reassure them.
Helen Remington: [unsmiling] I'll wear a fucking kimono if I feel like it.
Replace this image with a character photoMovie/TV title: Broadcast News
Character name: Jane Graig
Quote(s):
Aaron Altman: I know you care about him. I've never seen you like this about anyone, so please don't take it wrong when I tell you that I believe that Tom, while a very nice guy, is the Devil.
Jane Craig: This isn't friendship.
Aaron Altman: What do you think the Devil is going to look like if he's around? Nobody is going to be taken in if he has a long, red, pointy tail. No. I'm semi-serious here. He will look attractive and he will be nice and helpful and he will get a job where he influences a great God-fearing nation and he will never do an evil thing... he will just bit by little bit lower standards where they are important. Just coax along flash over substance... Just a tiny bit. And he will talk about all of us really being salesmen. And he'll get all the great women.

Aaron Altman: And in the middle of all this, I started to think about the one thing that makes me feel really good and makes immediate sense... and it's you.
Jane Craig: Oh, Bubba.
Aaron Altman: I'm going to stop right now. Except that I would give anything if you were two people, so that I could call up the one who's my friend and tell her about the one that I like *so much*!

Paul Moore: It must be nice to always believe you know better, to always think you're the smartest person in the room.
Jane Craig: No. It's awful.

[Playback on monitor]
Reluctant Interviewee: Fuck, fuck, fuck, fuck, fuck. Can you use that?
Aaron Altman: Depends on how slow a news day it is.
[Reacting to the playback]
Jane Craig: I can't believe you said that!
Aaron Altman: I'm very proud of that.

Jane Craig: No, no, no it wasn't just the speech, the same thing happened with this guy. I have passed some line, some place. I am beginning to repel people I'm trying to seduce.
Aaron Altman: He must've been great looking...
Jane Craig: Why do you say that?
Aaron Altman: Because nobody invites a *bad* looking idiot up to their bedroom.

Jane Craig: Bastard! Sneak! Quitter!
Aaron Altman: [cheerfully] Speaking!

Jane Craig: Just what do you want from me anyway, permission to be a fake? Stop whining.

Jane Craig: I-I can't help you. Sorry, I'm not here to teach remedial reporting.

Jane Craig: People called in complaining about your sweating?
Aaron Altman: No, NICE calls, worried that I was having a heart attack.

[On Aaron's sweating incident on the air]
Jane Craig: [on phone] It wasn't UNPRECEDENTED, was it?
Tom Grunick: [on phone] Not unless you count "Singin' In the Rain".

Jane Craig: So you like me, huh?
Tom Granick: I like you as much as I can like anyone who thinks I'm an asshole.

Tom Granick: It's amazing who's here.
Jane Craig: Who?
Tom Granick: Me
Replace this image with a character photoMovie/TV title:
Character name:
Quote(s):

Holly Hunter Quotes
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[on the importance of rehearsal for Thirteen (2003)] : I mean, some movies I walk in, "Hi, nice to meet you", we get in bed and we do a love scene. And that does happen. That happened with me with Billy Crudup on Jesus' Son (1999). Actors talk about that a lot, but it's not uncommon. And we could not have done Thirteen (2003) that way. It would not have worked.
I always feel that I am the advocate for my character. More than anyone else on the set, including the director. I'm there to protect my character, in a way.
I often get asked to direct and I've never taken anyone up on it. It would be very interesting and I would learn so much. But it's a very confrontational job - I mean, directors are forced to confront themselves, and I don't think there's really a way to prepare for the pressure of directing. And I have seen quite a few good people crash and burn at the job. Nervous breakdowns, crying, screaming fits - people buckle, so it's always scared me. But it's intriguing.
It just seems that abortion rights never ceases to be a hot topic. It's a shame. It feels to me an anachronism. I mean, why are we still talking about this? Why is this not just a woman's right, period? I find it boring and very frustrating that it remains such a high profile subject.
Actors do movies because you want to make a connection, you want an audience to recognise themselves in what it is that you're depicting. The portrait, you want it to be a reflection of some aspect of humanity that people understand, that they see in their own lives. And so, when a movie makes a connection like that, there's simply nothing better. And in some ways, an Academy Award does validate that actual hook-up.
I was trying to get as much experience as I could. But very early on, I was always extremely particular. From the beginning, I was never desperate. I did other things for money; you know, the normal, boring stuff - I temped, I did waitressing. But I actually quit a play early on in my career - it was one of the first things that I ever got cast in, but I quit because there was something about it that I didn't like. I didn't think the director was the right guy to be directing it. So I've never felt that every situation was great for me and therefore I would have to stay. To me, being creative is a very fragile thing, the environment in which one can create is a very particular one, and somehow I've always felt the need to be very protective of that.
[on how her career as an actress began] : ....Joel and Ethan (Joel Coen & Ethan Coen) had just finished the script of Raising Arizona (1987), and they asked me to read it and said that they'd written this part for me and would I be interested in doing it? So that was the beginning of my feature film career.
I'm just always looking for the best stuff. And also, there are things I want to do that I can't get - they want someone else. Often, in the movie business, they need somebody who will garner box office because they need to pay for the movie. So the people who are in movies that make a lot of money are the people who most often get cast in studio pictures. In my career, I've never been a box office name. Granted, a couple of my movies have made a lot of money but I'd do other movies which make very little money or they're not seen that much.
Actors are beggars and gypsies, that's just the way it is. And in many ways, I take what I can get. But I do search high and low for stuff that interests me.
Well, I think that an Academy Award has a certain kind of business shelf life. People have different speculations but definitely for a couple of years, your price is raised and there are more plentiful offers. Which only makes sense - it is a business. And the Academy Awards is a business, it enhances everything when you win one. But I think the most significant thing for me was, one, it was presented to me by Al Pacino, which I just loved. And two, that it was given to me for a role and an experience that I felt was a profound influence in my life. I know this because I was nominated for The Firm (1993) that same year and I don't feel the same way about The Firm (1993) that I do about The Piano (1993). So if I'd won for The Firm (1993) it would have been a whole different deal for me. I never actually saw The Firm (1993), so for me it would have been like... [grimaces]

Quotes About Holly Hunter
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