Repo Man: Yeah. Let's go get sushi and not pay.

How a major studio allowed such a vehemently odd movie to exist really is a mystery. Its outlandishness isn’t forced; it’s forceful. This is a film that expands a singular style of humor into an entire worldview, a physics as vast as the Force in Star Wars. But part of the mystery is also that Cox could gather so much talent in one place. Granted full autonomy in his casting, he somehow assembled a flawless ensemble. Emilio Estevez’s Otto is a pitch-perfect mix of blank ambition and obliviousness. Matching this is the world-weary exhaustion—dubbed “the Old West/cadaver look” by a friend of Cox’s—of Harry Dean Stanton’s Bud. Otto is a baby-faced punker initiated into a secretive trade by Bud, who listens to obsolete music, dresses square, and dreams small. Their worldviews collide in the new terrain of early eighties America, an era of subtle but rapid change from the Me Decade to the Greed Decade.

 

The more you drive, the dumber you get.
I don’t want no commies in my car. No christians either.
There’s fuckin’ room to move as a fry cook. I could be manager in two years. King. God.

Best movie ever, I simply had to post this.  No way around it.  And yes, we do have a screen printed movie poster of it on our wall, thanks for asking.  More Quotes here.

Now for some reason I wanna watch Akira?

Source: http://www.criterion.com/current/posts/273...