Voice Quotes in Star Wars: Episode IV - A New Hope (1977)


Voice Quotes:

  • [Han answers the intercom after comandeering an attack station]

    Han Solo: [sounding official] Uh, everything's under control. Situation normal.

    Voice: What happened?

    Han Solo: [getting nervous] Uh, we had a slight weapons malfunction, but uh... everything's perfectly all right now. We're fine. We're all fine here now, thank you. How are you?

    Voice: We're sending a squad up.

    Han Solo: Uh, uh... negative, negative. We had a reactor leak here now. Give us a few minutes to lock it down. Large leak, very dangerous.

    Voice: Who is this? What's your operating number?

    Han Solo: Uh...

    [Han shoots the intercom]

    Han Solo: [muttering] Boring conversation anyway. LUKE, WE'RE GONNA HAVE COMPANY!

  • Henry J. Waternoose: This has gone far enough, James.

    Sulley: She's home now. Just leave her alone!

    Henry J. Waternoose: I can't do that, James. She's seen too much. You both have.

    Sulley: It doesn't have to be this way.

    Henry J. Waternoose: I have no choice. Times have changed. Scaring isn't enough anymore.

    Sulley: But kidnapping children?

    Henry J. Waternoose: I'll kidnap a thousand children before I let this company die, and I'll silence anyone who gets in my way!

    [Waternoose knocks Sulley to the ground and lunges at Boo. He instead finds the simulated child]

    Voice: Simulation terminated. Simulation terminated...

    Henry J. Waternoose: [confused] Huh? But... What?

    [the lights come on and it's revealed that Boo's room is really the simulation room; Mike and several CDA agents are standing behind the console]

    Mike: I don't know about you guys, but I spotted several big mistakes. You know what? Let's watch my favorite part again, shall we?

    [replays the tape of Waternoose over and over]

  • Voice: [Opening voiceover, as an image of ants tearing apart an orchid flower on the ground is shown on screen] This is the ant. Treat it with respect, for it may very well be the next dominant life form of our planet. Sound incredible? Impossible? Have you ever taken a good, close look at what the ant is all about? Like these atta cephalotes - one of the 15,000 different species inhabiting our planet. This one cultivates crops of fungus for food. Others herd aphids, just as man herds cattle. And what about the warriors? The builders of bridges, roads, tunnels? Frightening, isn't it, that a creature as small as an ant is able to have a fair claim to rank next to man in the scale of intelligence? They have a sophisticated communication system. Specific messages are transmitted from one ant to another, through the use of a chemical substance called Pheromones. It causes an obligatory response. Did you hear that? Obligatory. Pheromones give an order that cannot be disobeyed. It's a mind-bending substance that forces obedience. But we don't have to worry about it. That's business better left to the ants.

  • Voice: You will not escape! In one year and one day, you will be DEAD!

  • Voice: [as Lightning stands in front of the silent crowd] Freebird!

  • Rusty Rust-eze: Winter is a grand old time/On this, there are no ifs or buts/But remember all that salt and grime/Can rust your bolts and freeze your -...

    Voice: [voice in crowd] Hey, look, there he is!

  • [a scene from "A Bug's Life"]

    Voice: Just get in there. Go, go, go, go, go.

    Flik Car: Circus Cars? How can you be Circus Cars?

    [a Car Version of P.T. Flea shows up]

    P.T. Flea Car: These are the Lousiest Circus Cars in the world, and they're *gonna make me rich*.

    Mack: Wait a Minute here. They're just using the Same Actor over and over. What kind of a Cut Rate Production is this?

  • Voice: We've been told about these wonder weapons the Germans were working on - long range rockets, push button bombing, weapons that don't need soldiers...

    Patton: "Wonder weapons"? By God, I don't see the wonder in them. Killing without heroics? Nothing is glorified? Nothing is reaffirmed? No heroes, no cowards, no troops, no generals. Only those who are left alive, and those who are left... dead. I'm glad I won't live to see it.

  • Prince Akeem: Good morning, my neighbors!

    Voice: Hey, fuck you!

    Prince Akeem: [genuinely happy] Yes, yes! Fuck you too!

  • Voice: There's someone in here.

    Christina: Sorry.

    Voice: It might be a while.

    Christina: How long?

    Voice: Let me put it to you this way. I had Lamb Curry last night and I'm shitting out a Buick!

    Courtney: Was it absolutely vital for her to tell us that?

  • Scarface: I got it! Why don't we sell that weed that we smoked earlier!

    Thurgood Jenkins: We suggested that already!

    Scarface: For real, B?

    [Phone beeps go off in Scarface's head]

    Voice: Marijuana affects the memory.

  • Voice: [off-camera] Hey, Phil, stay down there. Put your finger in his mouth.

    Peter Malarkey: PETER!

    [breaking character]

    Peter Malarkey: Okay. We're done. We're done with this.

  • Worker 1: [man falls past window] Did you see that?

    Worker 2: Hmm?

    Worker 1: Somebody just went past that window, downwards!

    Worker 2: Oh.

    Worker 1: [imitating Worker 2] Oh!

    [another man falls]

    Worker 1: Another one!

    Worker 2: Hmm?

    Worker 1: Two people have just fallen past that window!

    Worker 2: Oh.

    Worker 1: Look, two people

    [another man falls]

    Worker 1: , three people have just fallen past that window!

    Worker 2: Must be a board meeting.

    Worker 1: Oh, yeah.

    [another man falls]

    Worker 1: That was Wilkins, of finance.

    Worker 2: No, that was Robertson.

    Worker 1: Wilkins!

    Worker 2: It was Robertson!

    Worker 1: [another man falls] That was Wilkins.

    Worker 2: Oh, yeah.

    Worker 1: Be Parkinson next.

    Worker 2: I bet you it won't.

    Worker 1: How much? How much do you bet it won't? Fiver? Right. Done. You're on. Parkinson next. Come on, Parky!

    Worker 2: Don't be silly, Parky.

    Worker 1: Come on, Parkinson!

    Worker 2: Don't be stupid, man!

    Worker 1: Come on, man, jump!

    Voice: [reading a letter] Dear sir, I would like to complain about that last scene about people falling off tall buildings. I myself have worked all my life in such a building,

    [resumes writing]

    Voice: and... have... never... once... AAHHHH!

    [he falls off]

  • [Samuel is sleeping]

    Voice: What did your father teach you? What did your father teach you? What did your father teach you? What did your father teach you? What did your father teach you?

    [Samuel wakes up, hits a switch, and speaks into a receiver]

    Samuel Curtis: My father taught me to kill the sunflower.

    Voice: Congratulations, Mr. Curtis. You are now awake. Two hours to Jupiter.

  • [last lines]

    voice: [answering phone call] Hello?

    Jamie: Mr. Drucken, my name is Jamie Taylor

    voice: We've been expecting your call. Would you like to come in?

    Jamie: No, we do this my way. I have something you want...

  • Voice: Yes.

    William Parrish: Yes what?

    Voice: 'Yes' is the answer to your question.

    William Parrish: What question?

    Voice: Oh, Bill. Come on. The question. The question you've been asking yourself with increased regularity, at odd moments, panting through the extra game of handball, when you ran for the plane in Delhi, when you sat up in bed last night and hit the floor in the office this morning. The question that is in the back of your throat, choking the blood to your brain, ringing in your ears over and over as you put it to yourself.

    William Parrish: The question.

    Voice: Yes, Bill. The question.

    William Parrish: ...Am I going to die?

    Joe Black: [appearing from the shadows] Yes.

  • William Parrish: [entering in his library] Hello? Is anyone here?


    William Parrish: I said is anyone here?

    Voice: Quiet down!

    William Parrish: Where are you?

    Voice: I'm here.

    William Parrish: What is this a joke, right? Some kind of elaborate practical joke? Heh, at my fortieth reunion we delivered a casket to the class presidents hotel room and uh...

    Voice: QUIET!

    [Parrish backing out of library]

    Voice: Where are you going Bill?

    William Parrish: I uh...

    Voice: The great Bill Parrish at a loss of words? The man from whose lips fall "rapture" and "passion" and "obsession"? All those admonitions about being "deliriously happy, that there is no sense in living your life without" all the sparks and energy you give off, the rosy advice you dispense in round pear shaped tones.

    William Parrish: What the hell is this?

    [creaking, Joe Black appears in faded window]

    William Parrish: Who are you?

    Voice: Just think of millenniums multiplied by eons compounded by time without end. I've been around that long. But it's only recently your affairs here have piqued my interest. Call it boredom. The natural curiosity of me the most lasting and significant element in existence has come to see you.

    William Parrish: About what?

    Voice: I want to have a look around before I take you.

    William Parrish: Take me where?

    Voice: It requires competence wisdom and experience, all those things they say about you in testimonials. And you're the one.

    William Parrish: The one to do what?

    Voice: Show me around, be my guide. And in return you get...

    William Parrish: I get what?

    Voice: Time: minutes, days, weeks, lets not get encumbered by detail, what matters is that I stay interested.

  • William Parrish: Tell me who you are.

    Voice: Are you giving me orders?

    William Parrish: No. I'm sorry, I...

    Voice: No. You're not. You're trying to handle the situation. But this is the one situation you knew you never could handle.

  • (voice): Once the soul was perfect and had wings, it could sour into haven that only creatures with wings can be. But the soul lost its wings and fell to earth where it took a earthly body, now, while it lives in this body no outward sign of wings can be seen yet the roots of its wings are still there... and we see a beautiful woman or a man, the soul remembers the beauty it used to know in haven, and begins to spout and that makes the soul want to fly but it cannot yet it is still too weak so that man keeps staring up to the sky at a young bird, he lost all interest in the world around...

  • Carl Bruner: [Answers the phone nervously] Carl Bruner speaking.

    Voice: Hi, Carl.

    Carl Bruner: Mr. Balistrari.

    Voice: Balistrari? Carl, it's me, John.

    Carl Bruner: John. John, sorry, um, what - what - what - what's up?

  • [first lines]

    Ray Kinsella: [voice over] My father's name was John Kinsella. It's an Irish name. He was born in North Dakota in 1896, and never saw a big city until he came back from France in 1918. He settled in Chicago, where he quickly learned to live and die with the White Sox. Died a little when they lost the 1919 World Series. Died a lot the following summer when eight members of the team were accused of throwing that series. He played in the minors for a year too, but nothing ever came of it. Moved to Brooklyn in '35, married Mom in '38. He was already an old man working at the naval yards when I was born in 1952. My name's Ray Kinsella. Mom died when I was three, and I suppose Dad did the best he could. Instead of Mother Goose, I was put to bed at night to stories of Babe Ruth, Lou Gehrig, and the great Shoeless Joe Jackson. Dad was a Yankees fan then, so of course I rooted for Brooklyn. But in '58, the Dodgers moved away, so we had to find other things to fight about. We did. And when it came time to go to college, I picked the farthest one from home I could find. This, of course, drove him right up the wall, which I suppose was the point. Officially, my major was English, but really it was the '60s. I marched, I smoked some grass, I tried to like sitar music, and I met Annie. The only thing we had in common was that she came from Iowa, and I had once heard of Iowa. After graduation, we moved to the Midwest and stayed with her family as long as we could... almost a full afternoon. Annie and I got married in June of '74. Dad died that fall. A few years later, Karin was born. She smelled weird, but we loved her anyway. Then Annie got the crazy idea that she could talk me into buying a farm. I'm thirty-six years old, I love my family, I love baseball, and I'm about to become a farmer. And until I heard the Voice, I'd never done a crazy thing in my whole life.

    Voice: If you build it, he will come.

  • [first lines]

    Voice: [voiceover] This is the story of a ship...

    [long sequence of ship-building and launch]

  • [last lines]

    Voice: [voiceover] Here ends the story of a ship, but there will always be other ships; we are an island race, through all our centuries the sea has ruled our destiny. There will always be other ships and men to sail in them. It is these men, in peace or war, to whom we owe so much. Above all victories, beyond all loss, in spite of changing values and a changing world they give to us, their countrymen, eternal and indominitable pride.

    [sequence of ships launching and at sea]

    Capt. Edward V. Kinross: Open fire!

    Voice: God bless our ships... and all who sail in them.

    [close-up of the Royal Navy ensign]

  • Voice: This is not a dream... not a dream. We are using your brain's electrical system as a receiver. We are unable to transmit through conscious neural interference. You are receiving this broadcast as a dream. We are transmitting from the year one, nine, nine, nine. You are receiving this broadcast in order to alter the events you are seeing. Our technology has not developed a transmitter strong enough to reach your conscious state of awareness, but this is not a dream. You are seeing what is actually occurring for the purpose of causality violation.

  • Voice: [final lines, voiceover] I can hear it now: "Go to Italy. It's a peaceful country, nothing much ever happens there."

  • voice: The pulse of RealTime orients the life of every citizen. Eating, resting, going to work, getting married - every act is tied to RealTime. And every act leaves a trace of data - a footprint in the snow of noise.

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