Hollywoodland (2006)
Ben Affleck: George Reeves
Photos
Quotes
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Kenneth Giles : [after defeating villains in a live show] Hey, Superman! Hey, Superman!
George Reeves : Well, hello there, young man, what's your name?
Kenneth Giles : [brandishing a gun] Kenneth Giles. Can I shoot you?
George Reeves : [he sees that it's a real gun and is suddenly very serious] Kenneth, why would you want to do something like that?
Kenneth Giles : So the bullet bounces off. Can I?
George Reeves : Well, if you did shoot me and the bullet bounced off, it might accidentally hit someone else. We don't want that to happen, do we?
Kenneth Giles : No...
George Reeves : Why don't you just, you and I... Here we go, partner. Why don't you just give me that? Just hand me that...
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George Reeves : [about Leonore Lemmon] She makes me feel young.
Toni Mannix : [obviously offended] Have you seen yourself, George? Your face is going.
George Reeves : Don't do this...
Toni Mannix : Here, your eyes, your hair, your stomach.
George Reeves : Stop it.
Toni Mannix : You think no one notices?
George Reeves : Toni, don't do this.
Toni Mannix : But you've got your projects, haven't you? You're going to be a director. You'll sit in your little canvas chair polishing your balls. "Thank God I got rid of that hag I had to screw. What was her name? The one who paid for everything! The one who bought me a fucking house!".
George Reeves : For God's sake...
Toni Mannix : You want publicity? You'll get it. I'll say you're a Red. And a faggot. A lush. Nobody can call that a lie!
George Reeves : You know what? You've never helped me. You never helped me! You could've talked to Eddie. You could've gotten me something, but you didn't! Because you liked me where I was, in a fucking red suit! You liked that! Well, that's not who I am, understand? God damn you!
Toni Mannix : ...But, George, that's all you were good for. Ten-year-olds and shut-ins. That was the best you were ever going to be. I knew that, why didn't you?
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Toni Mannix : Straight arrow George! You go to New York, and you fuck some whore, and you run back to tell me!
George Reeves : She's not a whore.
Toni Mannix : She's an actress. A singer? Does she blow smoke rings with her cunt?
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George Reeves : What's that? Someone's in need. You can't see my penis, can you?
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George Reeves : [after falling from a snapped wire holding him up] I'd like to thank the Academy and all the good people of Galesburg, Illinois, for making me who I am today.
[turns and walks away]
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George Reeves : [looks at himself in the mirror after putting on Superman costume for the first time] I look like a damned fool!
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Toni Mannix : [Reeves steps in to get a photograph with Rita Hayworth] Just made it.
George Reeves : Beg your pardon?
Toni Mannix : Into the picture.
George Reeves : Was someone taking a picture? I hadn't noticed.
[Reeves lights Mannix' cigarette]
Toni Mannix : My, we're awfully well-trained, Mister...
George Reeves : George Reeves.
[Mannix laughs]
George Reeves : Was it the line or the delivery?
Toni Mannix : I laugh when I'm happy.
George Reeves : I see. Well, who is it I'm making so happy?
Toni Mannix : I'm Toni.
George Reeves : Just a poor girl with no last name.
[Mannix laughs again]
George Reeves : I had no idea I could spread this much joy!
Toni Mannix : Who knows what you might be spreading?
[Reeves grins]
Toni Mannix : Your turn.
George Reeves : I'm afraid you've got me!
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George Reeves : Well, you know what they say about land. They - they aren't making any more of it.
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Toni Mannix : She's a lesbian, you know.
George Reeves : Who?
Toni Mannix : The one playing Lois.
George Reeves : Phyllis? Is she really?
Toni Mannix : No. She is now, as far as you're concerned.
George Reeves : Well... there it is.
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Toni Mannix : [Wryly] I have another seven good years, then my ass drops like a duffel bag.
George Reeves : Well, it seems alright now.
Toni Mannix : Thank you for noticing.
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Art Weissman : An actor can't always act. Sometimes he has to work.
George Reeves : You're talking to the man who defended Camelot with a cardboard sword.
Art Weissman : I enjoyed you in that.
George Reeves : You were the oldest boy in the theater.
Art Weissman : Look, it's a dirt-cheap kiddie show. It doesn't even have a sponsor. Odds are no one's ever gonna see it.
George Reeves : [sarcastically] It's just sounding better and better.
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[last lines]
George Reeves : Goodnight.
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Natividad Vacio : We're two steps from the men's room. Anyone sees us, they'll think we're queer.
George Reeves : You do look fetching tonight.
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Toni Mannix : Well, maybe it wasn't your proudest moment.
George Reeves : No, I'm quite sure it wasn't.
Toni Mannix : But you did create a very likable, very attractive, very heroic character.
George Reeves : Is that right?
Toni Mannix : I'd fuck you in a second.
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George Reeves : This makes sense to me. I can set up my own projects. Direct and produce and - we'll get some other sap to jump around in colored underwear.
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Leonore Lemmon : So, how about an autograph for my poor crippled nephew?
George Reeves : Is he in an iron lung?
Leonore Lemmon : He's in Yonkers.
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George Reeves : I know when I'm out of my league.
Leonore Lemmon : Don't sell yourself short. I got a big heart. I'll bet you've got a big one, too.
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Toni Mannix : Just made it.
George Reeves : I beg your pardon?
Toni Mannix : Into the picture.
George Reeves : [smirking] Was someone taking a picture? I hadn't noticed.
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George Reeves : They're picking up Superman.
Toni Mannix : They're what?
George Reeves : Kellogg's. They bought it.
Toni Mannix : After two years?
George Reeves : That's right. And I will be on television in a month. Wearing brown and gray underpants.
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Eddie Mannix : Tough game.
George Reeves : Well, I'm always ready to play.
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Art Weissman : George, what do you want from life?
George Reeves : Oh, I don't know. I'd settle for Clark Gable's career.
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Leonore Lemmon : Goddamn! Make room for fucking Daddy! You know what, stallion?
George Reeves : What?
Leonore Lemmon : I think you're starting to get the hang of this. Let's do it again.
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George Reeves : I want to be honest with you.
Toni Mannix : My, that's noble. What is that, from some script you auditioned for in the '40s?