This is a Google document that I try to keep updated. It’s not necessarily the most accurate description because I spend more time working on the music than this guide, and things change must faster than I can keep up. Still, it should be close enough to enhance your listening experience. If you are having trouble viewing it, you can load the document directly from here.
I realize that it may be hard to understand everything that is being said in those few moments where spoken words can be heard. This was intentional because you’re really supposed to focus on the music, except when it’s completely obvious. Besides, anyone addicted to soundtracks can tune the actors out when their favorite music is singing in the background. Sometimes the actor’s lines are included in the musical cue, which emphasize (rather than dominate) the musical point. I know some people would like to know what they’re saying, so I included them for you to read. If you know the date, place, or context these quotes were made, please use the contact form and let me know.
Ah, this is not the end. No, it is not even the beginning of the end. But it is, perhaps, the end of the beginning.
Franklin D. Roosevelt:
December 7th, 1941: A date which will live in infamy.
Natalie Portman (as Evey from the movie “V for Vendetta”, screenplay by the Wachowski Brothers):
God is in the rain.
Sendhil Ramamurthy (as Mohinder Suresh from the TV series “Heroes”, written by Tim Kring):
Where does it come from — this quest — this need to solve life’s mysteries when the simplest of questions can never be answered? Why are we here? What is the soul? Why do we dream? Perhaps we’d be better off not looking at all…not delving, not yearning. But that’s not human nature, not the human heart. That is not why we are here.
John Travolta (as Gabriel Shear from the movie “Swordfish”, written by Skip Woods):
You know what the problem with Hollywood is…they make shit. Unbelievable, unremarkable shit. Now, I’m not some grungy wannabe filmmaker, that’s searching for existentialism through a haze of bong smoke or something. No, it’s easy to pick apart bad acting, short-sighted directing, and a purely moronic stringing together of words that many of the studios term as prose. No, I’m talking about the lack realism…realism. Not a pervasive element in today’s modern American cinematic vision.
The intensity of the experience is entirely unlike any ordinary experience. But on the other hand it’s quite obvious it resembles spontaneous experiences certain artists and religious people have unquestionably had. It’s immense intensification of the world, the transfiguration of the external world into incredible beauty and significance. It’s also beyond this kind of aesthetic experience, I mean, the other experiences…sense of solidarity with the universe, solidarity with other people…understanding of such phrases as read in the book of Job, ‘Yay, though he slay me, yet I will trust in Him,’ becomes quite comprehensible. This thing opens the door to these experiences, which can be of immense value to people, if they choose to make use of them (or if they don’t choose to). I mean, this is what the Catholics call gratuitous grace. It doesn’t guarantee salvation, or…is not sufficient and is not necessary for salvation, but if it can be collaborated with and used in an intelligent way, it can be of immense help to people. The sense that in spite of everything — which, of course, is the ultimate…I suppose the ultimate mystical conviction — in spite of pain, in spite of death, in spite of horror, the Universe is in some mysterious sense all right, capital A, capital R.