I am big! It's the pictures that got small.
Catalog
Charles Brackett
Charles William Brackett (November 26, 1892 – March 9, 1969) was an American novelist, screenwriter, and film producer, best known for his long collaboration with Billy Wilder. 2Life and career Brackett was born November 26, 1892 in Saratoga Springs, New York, the son of Mary Emma Corliss and New York State Senator, lawyer, and banker Edgar Truman Brackett. The family's roots traced back to the arrival of Richard Brackett in the Massachusetts Bay Colony in 1629, near present-day Springfield, Massachusetts. His mother's uncle, George Henry Corliss, built the Centennial Engine that powered the 1876 Centennial Exposition in Philadelphia. A 1915 graduate of Williams College, he earned his degree from Harvard University. He joined the Allied Expeditionary Force during World War I. He was awarded the French Medal of Honor. He was a frequent contributor to the Saturday Evening Post, Collier's, and Vanity Fair, and a drama critic for The New Yorker from 1925-29. He wrote five novels: The Counsel of the Ungodly (1920), Week-End (1925), That Last Infirmity (1926), American Colony (1929), and Entirely Surrounded (1934). Brackett was president of the Screen Writers Guild (1938–1939). He was president of the Academy of Motion Picture Arts and Sciences from 1949 through 195
All right, Mr. DeMille, I'm ready for my close-up.
You don't yell at a sleepwalker—he may fall and break his neck. That's it: She was still sleepwalking along the giddy heights of a lost career.
Betty Schaefer: Don't you sometimes hate yourself? Joe Gillis: Constantly.
The whole place seemed to have been stricken with a kind of creeping paralysis—out of beat with the rest of the world, crumbling apart in slow motion.
Betty Schaefer: I've been hoping to run into you. Joe Gillis: What for? To recover that knife you stuck in my back?
The poor dope—he always wanted a pool. Well, in the end, he got himself a pool.
[Joe is reading Norma's script] Sometimes it's interesting to see just how bad—bad writing can be. This promised to go the limit.
So they were turning after all, those cameras. Life, which can be strangely merciful, had taken pity on Norma Desmond. The dream she had clung to so desperately had enfolded her.
Joe Gillis: [Norma threatens suicide again] Oh, wake up, Norma, you'd be killing yourself to an empty house. The audience left twenty years ago. Now, face it. Norma Desmond: That's a lie! They still want me!
Well, this is where you came in, back at that pool again, the one I always wanted. It's dawn now and they must have photographed me a thousand times. Then they got a couple of pruning hooks from the garden and fished me out... ever so gently. Funny, how gentle people get with you once you're dead.
Audiences don't know somebody sits down and writes a picture; they think the actors make it up as they go along.
There once was a time in this business when I had the eyes of the whole world! But that wasn't good enough for them, oh no! They had to have the ears of the whole world too. So they opened their big mouths and out came talk. Talk! TALK!
Joe Gillis: Wait a minute, haven't I seen you before? I know your face. Norma Desmond: Get out! Or, shall I call my servant? Joe Gillis: You're Norma Desmond. You used to be in silent pictures. You used to be big. Norma Desmond: I am big. It's the pictures that got small.
Norma Desmond: You heard him. I'm a star. Joe Gillis: Norma, you're a woman of 50, now grow up. There's nothing tragic about being 50, not unless you try to be 25. Norma Desmond: The greatest star of them all.
Joe Gillis: I didn't know you were planning a comeback. Norma Desmond: I hate that word. It's a return, a return to the millions of people who have never forgiven me for deserting the screen.
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, and the cameras, and those wonderful people out there in the dark!... All right, Mr. DeMille, I'm ready for my…
We didn't need dialogue. We had faces!
This is New Year's Eve. How about living it up a little?