30 Memorable Quotes from Carrie Fisher

Brendon Thorne/Getty Images
Brendon Thorne/Getty Images

Just days after suffering a heart attack aboard a flight en route to Los Angeles, beloved actress, author, and screenwriter Carrie Fisher passed away at the age of 60 on December 27, 2016. Though she’ll always be most closely associated with her role as Princess Leia in Star Wars, Fisher’s life was like something out of its own Hollywood movie. Born in Beverly Hills on this day in 1956, Fisher was born into show business royalty as the daughter of singer Eddie Fisher and actress Debbie Reynolds.

In addition to her work in front of the camera, Fisher built up an impressive resume behind the scenes, too, most notably as a writer; in addition to several memoirs and semi-autobiographical novels, including Wishful Drinking, Surrender the Pink, Delusions of Grandma, The Best Awful, Postcards from the Edge, and The Princess Diarist (which was released last month), she was also an in-demand script doctor who counted Sister Act, Hook, Lethal Weapon 3, and The Wedding Singer among her credits.

Though she struggled with alcoholism, drug addiction, and mental illness, Fisher always maintained a sense of humor—as evidenced by the 30 memorable quotes below.

ON GROWING UP IN HOLLYWOOD

“I am truly a product of Hollywood in-breeding. When two celebrities mate, someone like me is the result.”

“I was born into big celebrity. It could only diminish.”

“At a certain point in my early twenties, my mother started to become worried about my obviously ever-increasing drug ingestion. So she ended up doing what any concerned parent would do. She called Cary Grant.”

“I was street smart, but unfortunately the street was Rodeo Drive.”

“If anything, my mother taught me how to sur-thrive. That's my word for it.”

ON AGING

“As you get older, the pickings get slimmer, but the people don't.”

ON INSTANT GRATIFICATION

“Instant gratification takes too long.”

ON THE LEGACY OF STAR WARS

“People are still asking me if I knew Star Wars was going to be that big of a hit. Yes, we all knew. The only one who didn't know was George.”

“Leia follows me like a vague smell.”

“I signed my likeness away. Every time I look in the mirror, I have to send Lucas a couple of bucks.”

“People see me and they squeal like tropical birds or seals stranded on the beach.”

“You're not really famous until you’re a Pez dispenser.”

ON THE FLEETING NATURE OF SUCCESS

“There is no point at which you can say, 'Well, I'm successful now. I might as well take a nap.'”

ON DEALING WITH MENTAL ILLNESS

“I'm very sane about how crazy I am.”

ON RESENTMENT

“Resentment is like drinking poison and waiting for the other person to die."

ON LOVE

“Someone has to stand still for you to love them. My choices are always on the run.”

“I've got to stop getting obsessed with human beings and fall in love with a chair. Chairs have everything human beings have to offer, and less, which is obviously what I need. Less emotional feedback, less warmth, less approval, less patience, and less response. The less the merrier. Chairs it is. I must furnish my heart with feelings for furniture.”

“I don’t hate hardly ever, and when I love, I love for miles and miles. A love so big it should either be outlawed or it should have a capital and its own currency.”

ON EMOTIONS

“The only thing worse than being hurt is everyone knowing that you're hurt.”

ON RELATIONSHIPS

“I envy people who have the capacity to sit with another human being and find them endlessly interesting, I would rather watch TV. Of course this becomes eventually known to the other person.”

ON HOLLYWOOD

“Acting engenders and harbors qualities that are best left way behind in adolescence.”

“You can't find any true closeness in Hollywood, because everybody does the fake closeness so well.”

“It's a man's world and show business is a man's meal, with women generously sprinkled through it like overqualified spice.”

ON FEAR

“Stay afraid, but do it anyway. What’s important is the action. You don’t have to wait to be confident. Just do it and eventually the confidence will follow.”

ON LIFE

“I don’t want life to imitate art. I want life to be art.”

“No motive is pure. No one is good or bad-but a hearty mix of both. And sometimes life actually gives to you by taking away.”

“If my life wasn't funny it would just be true, and that is unacceptable.”

“I shot through my twenties like a luminous thread through a dark needle, blazing toward my destination: Nowhere.”

“My life is like a lone, forgotten Q-Tip in the second-to-last drawer.”

ON DEATH

“You know what's funny about death? I mean other than absolutely nothing at all? You'd think we could remember finding out we weren't immortal. Sometimes I see children sobbing at airports and I think, 'Aww. They've just been told.'”

8 Haunting Horror Movie Gimmicks

Universal Pictures Home Entertainment
Universal Pictures Home Entertainment

In the 1950s and 1960s, horror movies were making studios huge profits on shoestring budgets. But after the market hit horror overload, directors and studios had to be extra creative to get people to flock to theaters. That's when a flood of different gimmicks were introduced at movie theaters across the country to make a film stand out from the crowd. From hypnotists to life insurance policies and free vomit bags, here's a brief history of some of the most memorable horror movie gimmicks.

1. PSYCHO-RAMA // MY WORLD DIES SCREAMING (1958)

In order to truly become a classic, a horror movie can't just work on the surface; it has to get deep inside of your head. That's what Psycho-Rama tried to achieve when it was first conceived for My World Dies Screaming, later renamed Terror in the Haunted House. Psycho-Rama introduced audiences to subliminal imagery in order to let the scares sink in more than any traditional film could.

Skulls, snakes, ghoulish faces, and the word "Death" would all appear onscreen for a fraction of a second—not long enough for an audience member to consciously notice it, but it was enough to get them uneasy. Obviously Psycho-Rama didn't really catch on with the public or the film industry, but horror directors, like William Friedkin in The Exorcist, have since gone on to use this quick imagery technique to enhance their own movies.

2. FRIGHT INSURANCE // MACABRE (1958)

Director William Castle didn't make a name for himself in the film industry by directing cinematic classics; instead, he relied on shock and schlock to help fill movie theater seats. His movies were full of what audiences craved at the time: horror, gore, terror, suspense, and a heaping helping of camp. But his true genius came from marketing—and the gimmicks he brought to every movie, which have since become legendary among horrorphiles.

His most famous stunt was the life insurance policy he purchased for every member of an audience that paid to see Macabre. This was a real policy backed by Lloyd's of London, so if you died of fright in your seat, your family would receive $1000. Now who wouldn't want to roll the dice on that type of deal? Of course, the policy didn't cover anyone with a preexisting medical condition or an audience member who committed suicide during the screening. Lloyd's had to draw the line somewhere, right?

3. HYPNO-VISTA // HORRORS OF THE BLACK MUSEUM (1959)

How do you make your routine horror movie stand out from the crowd? Hypnotize your audience, of course. Thus Hypno-Vista was born. For this gimmick, James Nicholson, president of American International Pictures, suggested that a lecture by a hypnotist, Dr. Emile Franchel, should precede Horrors of the Black Museum, which had a plot focusing on a hypnotizing killer.

For 13 minutes, Dr. Franchel talked to the audience about the science behind hypnotism, before attempting to hypnotize them himself in order to feel more immersed in the story. Nowadays it comes off as overlong and dry, but it was a gimmick that got people into theaters back in 1959. Plus, writer Herman Cohen said that eventually the lecture had to be removed whenever the movie re-aired on TV because it did, in fact, hypnotize some people.

4. NO LATE ADMISSION // PSYCHO (1960)

Though this isn't the most gimmickiest of gimmicks, Alfred Hitchcock's insistence that no audience member be admitted into Psycho once the movie started got a lot of publicity at the time. The Master of Suspense's reasoning is less about drumming up publicity and more about audience satisfaction, though. Because Janet Leigh gets killed so early into the movie, he didn't want people to miss her part and feel misled by the movie's marketing.

This publicity tactic wasn't completely novel, though, as the groundbreaking French horror movie Les Diaboliques (1955) had a similar policy in place. This was at a time when people would simply stroll into movie screenings whenever they wanted, so to see a director—especially one so masterful at the art of publicity—who was adamant about showing up on time was a great way to pique some interest.

5. FRIGHT BREAK // HOMICIDAL (1961)

Another classic William Castle gimmick was the "fright break" he offered to audience members during his 1961 movie, Homicidal. Here, a timer would appear on the screen just as the film was hurtling toward its gruesome climax. Frightened audience members had 45 seconds to leave the theater and still get a full refund on their ticket. There was a catch, though.

Frightened audience members who decided to take the easy way out were shamed into the "coward's corner," which was a yellow cardboard booth supervised by some poor sap theater employee. Then, they were forced to sign a paper reading "I'm a bona-fide coward," before getting their money back. Obviously, at the risk of such humiliation, most people decided to just grit their teeth and experience the horror on the screen instead.

6. THE PUNISHMENT POLL // MR. SARDONICUS (1961)

The most interactive of William Castle's schlocky horror gimmicks put the fate of the film itself into the hands of the audience. Dubbed the "punishment poll," Castle devised a way to let viewers vote on the fate of the characters in the movie Mr. Sardonicus. Upon entering the theater, people were given a card with a picture of a thumb on it that would glow when a special light was placed on it. "Thumbs up" meant that Mr. Sardonicus would be given mercy, and "thumbs down" meant … well, you get the idea.

Apparently audiences never gave ol' Sardonicus the thumbs up, despite Castle's claims that the happier ending was filmed and ready to go. However, no alternative ending has ever surfaced, leaving many to doubt his claims. Chances are, there was only one way out for Mr. Sardonicus.

7. FREE VOMIT BAGS // MARK OF THE DEVIL (1970)

Horror fans are mostly masochists at heart. They don't want to be entertained—they want to be terrified. So when the folks behind 1970's Mark of the Devil gave out free vomit bags to the audience due to the film's grotesque nature, how could any self-respecting horror fan not be intrigued? It wasn't just the bags that the studio was advertising; it also claimed the film was rated V, for violence—and maybe some vomit?

8. DUO-VISION // WICKED, WICKED (1973)

Duo-Vision was hyped as the new storytelling technique in cinema—offering two times the terror for the price of one ticket. Of course Duo-Vision is just fancy marketing lingo for split-screen, meaning audiences see a film from two completely different perspectives side-by-side. In the 1973 horror film Wicked, Wicked, that meant watching the movie from the points of view of both the killer and his victims.

Seems like a perfect concept for the horror genre, right? Well, Duo-Vision wasn't just employed during the movie's most horrific moments; it was used for the movie's entire 95-minute runtime. The technique had been used sparingly in other films—most notably in Brian De Palma's much better film Sisters (1973)—but it had never been implemented to this extent. A little bit of Duo-Vision apparently goes a long way, because it fell out of favor soon after.

John Carpenter May Be Planning a They Live Sequel

Universal Studios Home Video
Universal Studios Home Video

John Carpenter is one of the horror genre's biggest names. The man behind the original Halloween, The Fog, Escape from New York, and The Thing, ​Carpenter has had a long enough career to see many of his most popular creations be remade, including this year's new Halloween film, which features some of the original actors returning to their iconic roles to continue a decades-long story.

But in a recent interview with ​Den of Geek, when Carpenter was questioned about whether his cult classic They Live might he ripe for revisiting, Carpenter teased: "Well, I’m not gonna tell you about that, because it might be closer to reality than you think."

​They Live, which came out in 1988, featured the late professional wrestler 'Rowdy' Roddy Piper in his signature role as a man who finds a pair of sunglasses that allow him to see the true state of the world and uncover an alien invasion. Like so many of Carpenter's other films, it has continued to amass a cult following in the decades since its release—especially among those viewers who understood and appreciated its underlying political metaphor.

Today's highly divisive political climate makes it a perfect time for a sequel/reboot/reimagining of They Live, and it sounds as if Carpenter might agree.

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