i'm not sure i'm quoting directly, but some of the things he says are absolutely hilarious:
For instance, on tulips
'...like an open invitation for all the bugs and bees to come and screw me. I think flowers should be forbidden to children.'
or (on Hitchcock's Birds)
'I am thinking right now exactly what Melanie Daniels was thinking: I want to *beep* Mitch.'
------"Are you an American? I'm not an American, i'm a nymphomaniac"------
Ahh, yes. The part about the dental vaginas... Also, it comes out of nothing! All of a sudden he's there, in the garden, watering flowers, starting with a classic line:
"I hate tulips..."
This is one of the funniest things I've ever seen, this film. And still something that'll make you smarter. More Zizek to the people, I'd say :)
I laughed at the part where he described how everyone has that moment when they are engaged in sexual intercourse where we lose the fantasmic element and we are like, "Why are we doing these silly, repetitive motions?" Funny and true.
Its a good question though: Why cant we enjoy sex without having some elaborate fantasy going on in our heads at the same time?
For me it has to be "‎what if we throw out the baby and keep just the dirty water?"
The man's a genius.
"He who laughs last thinks slowest."
One of my favourite lines is from the end of part one, where he uses the toilet from "The Conversation" as a prop and says:
"When we spectators are sitting in a movie theatre looking at the screen - you remember, at the very beginning, before the picture is on, it's a black, dark screen, and then light thrown on - are we basically not staring into a toilet bowl and waiting for things to reappear out of the toilet? And is the entire magic of spectacle shown on the screen not a kind of a deceptive viewer trying to conceal the fact that we are bascially watching sh!t?"
I like his enthusiasm. Psychoanalysis may be passe in America but his European insight (psychoanalysis) is way better than anything behaviourism (American) can attempt.
I haven't seen parts 2 or 3 yet. Does he deal with any films that are directly influenced by psychoanalysis? ("Spellbound", for instance)