–Don’t you sometimes hate yourself?
–Constantly.
–I didn’t know you were planning a comeback.
–I hate that word. It’s a return.
–They’ll love it in Pomona.
–They’ll love it everyplace.
–Well, hello, young fella.
–Helle, Mr. DeMille.
All right, Mr. De Mille. I’m ready for my closeup.
And I promise you I’ll never desert you again because after ‘Salome’ we’ll make another picture and another picture. You see, this is my life! It always will be! Nothing else! Just us, the cameras, and those wonderful people out there in the dark!… All right, Mr. DeMille, I’m ready for my close-up.
Fans, you all know Joe Gillis, the well-known screenwriter, uranium smugglar and Black Dahlia suspect.
Great stars have great pride.
Hey, don’t I know you? You’re Norma Desmond, you used to be in pictures, you used to be big. I am big…it’s the pictures that got small!
I am big. It’s the pictures that got small
I talked to a couple of yes men at Metro. To me they said no.
I was the first husband
I’m not an executive, just a writer.
I’m rich.
It was a great big elephant of a place, the kind of place crazy movie people built in the crazy twenties.
Max: Back then, there were three young directors that showed promise, DW Griffth, Cecil B. DeMille and….
Joe: Max von Mayerling
No one ever leaves a star!
No one ever leaves a star.
Poor devil – he always wanted a pool.
Psychopaths sell like hot cakes.
She sat there behind those sunglasses coiled up like a watch spring…
The waxworks, dim figures from the silent days.
There was a mahararajah who came all the way from India to beg one of her silk stockings. Later, he strangled himself with it.
There were three young directors who showed promise in those days – D. W. Griffith, Cecil B. DeMille, and Max Von Mayerling.
There’s nothing tragic about being fifty. Not unless you’re trying to be twenty-five.
They took the idols and smashed them, the Fairbanks, the Gilberts, the Valentinos! Who’ve we got now? Just some nobodies.
Wake up, Norma. You’ll be killing yourself for an empty house. The audience left twenty years ago.
We didn’t need dialogue. We had faces.
Well, this is where you came in, back at that pool again, the one I always wanted.
What’s wrong with being on the other side of the camera?
You know, older woman who is well-to-do and younger man who is not doing well.
You made a rope of words and strangled this business.
You must understand, I discovered her at 16, I made her a star, and I cannot let her be destroyed.
You there! Why are you so late? Why have you kept me waiting so long?
You’re Norma Desmond. You used to be in silent pictures. You used to be big.
I am big. It’s the pictures that got small.
Page Topic: Movie Quotes from ‘Sunset Boulevard’: Quotes from the movie ‘Sunset Boulevard’