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Fathead Newman: Look at Ray over there. You see that? He feels her wrist because he figures that's the way to tell if she's good looking or not.

Joe Adams: You don't have to talk to Ray, you're talking to me. Fathead Newman: I'll talk to whoever I damn well please and it sure as hell ain't you.

Gossie McKee: What the hell's Ray doin' up there? Marlene: Auditionin' for you Gossie. Gossie McKee: He ain't no good without me. Marlene: How'd you and the 'Bama like to do a week here at the Chair. I know a good bass player. Nice jazz trio can score big. With the right manager. Gossie McKee: Manager? Marlene: Come on now, Gossie, don't be so small minded. You know you have to give to get. Gossie McKee: What exactly do I have to give? Marlene: Twenty-five percent. But I'll be gettin' you other gigs. Gossie McKee: Alright. Next question. What do I get? Marlene: What do you need? Gossie McKee: Double scale as leader. Plus ten percent. Marlene: What about the 'Bama? Gossie McKee: He's about as green as a blade of grass. I can handle him. Marlene: Yeah, he's green alright. So, Gossie, you don't have to worry about finding a hotel room for the 'Bama. He can flop at my place. Gossie McKee: You don't never change.

(Ray is recording "Georgia on my Mind") Margie Hendricks: Listen to that crap. I thought you said ABC wasn't gonna force nothing on him. Jeff Brown: They didn't. It was Ray's idea. Something new. Margie Hendricks: What are we then, Jeff? Something old? Fathead Newman: Yeah. We got to eat too.

Gossie McKee: Look, Ray! Ray! We can make a new deal; whatever'd make you happy! Ray Charles: The deal is *you* can "lay the pipe" now!

Ray Charles: If I feel the music, that means it's real.
Quincy Jones: No, it ain't. Ray Charles is a sell-out. The blind Liberace, leaving those Rocking Chair roots behind.

Ahmet Ertegun: Ray, I'm gonna tell you something and I don't want you to take it the wrong way.
Ray Charles: Well, then give it to me right then.
Ahmet Ertegun: I signed you because I sensed something special in you not because you sound like Nate Cole or Charles Brown.
Ray Charles: But I thought you liked what I do.
Ahmet Ertegun: Look we love the tenor of your voice, your vituosity, your energy...
Ray Charles: But not my music.
Ahmet Ertegun: Man, I didn't say that.
Ray Charles: Look, Ahmet, this is what I do. I gotta make a living. This is what the people want. I don't know no other way.
Ahmet Ertegun: Well we gotta help you find one. Look, let's try a little change of pace. Your familiar with stride piano?
Ray Charles: You kidding me, man? The man I learned the piano from was a stride player.
Ahmet Ertegun: Okay, I've got a song. It's called the Mess Around.
Ray Charles: Mess around. Cute title. Who wrote it?
Ahmet Ertegun: I did.
Ray Charles: Oh. You wrote it. Well, sing it to me, man.
Ahmet Ertegun: Sing it?
Ray Charles: Yeah, it's not like I can read the lyrics.
Ahmet Ertegun: Alright. It's in the key of G.
Ray Charles: Key of G.
(Begins playing)
Ahmet Ertegun: No. More like a Pete Johnson kind of thing.
Ray Charles: Pete Johnson.
(Begins playing again)
Ahmet Ertegun: Yeah, yeah. That's good.
Ray Charles: Oh, you like that? Okay, let's go.

Ray Charles: Marge is drunk, Jeff. Go home and sleep it off.
Jeff Brown: Let me take you home.
Margie Hendricks: No. I'll leave when I'm good and goddamn ready to.
Ray Charles: She's good and goddamn ready right now.

(Della Bea has just discovered Ray's drug problem)
Della Bea Robinson: That stuff kills people, Ray. Now you've gotta stop it.
Ray Charles: I don't have to do a *goddamn* thing!

Ray Charles: I love the stories. You know, about fallin' in love, and having love knock you around, and then the pressures of the world on you so tough it makes you feel small. You just want to give your soul to God. You might as well, your ass belongs to him.

(to Margie)
Ray Charles: You know what they're saying about me? Said I lost something. Said I've gone middle-of-the-road. They might as well say the same thing about you. You were the soul of this band, now every time you're around you're just drunk. The drunk soul of a blind junkie. What a lovely couple.

(first lines)
Aretha Robinson: Always remember your promise to me. Never let nobody or nothing turn you into no cripple.

Milt Shaw: Forget second billing. Ray Charles headlines at a thousand per or no deal.
Milt Shaw: Terrific.

Ray Charles: I want you to promise me something. Promise you won't feel sorry for me just because I'm blind.
Della Bea Robinson: How can I pity someone I admire?

Jerry Wexler: Ahmet believes we're family here at Atlantic Records. I believe we're family at Atlantic. Obviously you don't. Ahmet wouldn't believe it. You know what he said, Ray? He said you would never turn your back on us. Never for a schlockmeister like Sam Clark. Ha! That's rich. Sam Clark's a corporate slug who wouldn't know the difference between Earl Hines and Art Tatum! We let you grow here, Ray. Nobody's taking credit for your talent, but we nourished it. We let you do your thing. Goddamn it, we deserve better than this.
Ray Charles: You know that I appreciate everything you guys have done here, Jerry. Ahmet, I'm very proud of the work we've done here together and Atlantic has done pretty good moneywise on my records, haven't they?
Ahmet Ertegun: Yes, we've done very well, Ray.
Ray Charles: You're the ones who taught me that making a record is business and find the best business deal that you can. Now seventy-five cents of every dollar and owning my own masters is a pretty damn good deal. Can you match it?
Ahmet Ertegun: Ray we would love to match it, but we just can't. That's a better deal than Sinatra gets... I'm very proud of you.

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