Welcome to the fight Club

Goofs for Fight Club

2008-07-26T10:39:00.000-07:00

Incorrectly regarded as goofs: Tyler *69s the Narrator at the payphone. While all the Paper Street house phones are rotary, you can dial "1169" from a rotary phone with the same effect; it's likely that Tyler would still refer to this as "*69." And while *69 might not work on a pay phone, this scene is not entirely as it seems, for reasons that become clear by the end of the movie.
Factual errors: When Tyler splices porno frames into family films, the audio track would have only a barely noticeable 1/24 second interruption (as shown) and would stay in sync. However, the flash and sound are shown simultaneously, when in fact, if they were on the same frame, they would be about 3/4 seconds apart. The sound for a 35mm film is read by a head located about a foot past the projection lamp, so the soundtrack for a given frame is also located about a foot past the frame. (Incidentally, the splice is not necessarily at a changeover point; those are discussed only to explain why a projectionist must be present.)
Continuity: When the Narrator is quitting his job, the thermostat changes between silver and black as the shot cuts back and forth between the Narrator and his boss. Also, the distance between the chair and desk with files on it in the background changes between shots.

Continuity: When Tyler throws the Narrator down the stairs, the event is supposedly caught on a security camera. When you see the footage at the security desk the camera that was supposed to have filmed the fight is visible in the security footage. The event is shown from an angle where there's no camera on the wall.
Revealing mistakes: When the narrator talks to his doctor, the x-ray on the wall behind him is not only back-to-front, but also upside-down, though we have one claim this is a common real-world error.
Continuity: Blood on Tyler's face early on during his fight with Lou the bar owner.
Miscellaneous: When a Fight Club member sprays the priest with a hose, the camera briefly shakes. This happens because the cameraman couldn't keep himself from laughing.
Revealing mistakes: During the fight scene in the garage between Tyler and the narrator, the concrete wall moves when the narrator is thrown against it.
Continuity: In the talk between Tyler and the narrator after the first lovemaking of Tyler & Marla, Tyler's cigarette switches from burning to not burning to burning again.
Continuity: The sweat around the Narrator's collar when he's in the dry cleaner's looking for Tyler.
Continuity: During the fight in the garage, Tyler puts the narrator's head through the passenger side mirror of a van. The mirror then changes position when Tyler looks in it.
Crew or equipment visible: When the Narrator is getting off the table in the police station after getting the gun, the wireless mic pack is visible and connected to his underpants.
Crew or equipment visible: After the scene in the bathroom where "Tyler" threatens the police chief, you see Meat Loaf's character's trousers fall down, revealing the body suit he was wearing.
Continuity: When The Narrator is lying in bed reading a magazine listening to Tyler and Marla have sex upstairs, there is a copy of BusinessWeek on the table next to his bed with the cover "The Technology Paradox." In the next shot, there is a close-up of the magazine with water dripping on it with the cover "The Best and The Worst Boards."
Continuity: When the Narrator is breaking into the building (near the end of the movie), Jack slams a bench into the glass door, which rebounds a little bit and hits him. He eventually shoots the door he tried ramming, and when he kicks the glass and goes through, the bench is gone.
Crew or equipment visible: When Tyler is urinating in the soup, the boom microphone becomes visible as it moves to allow him to talk into it.
Continuity: At any given point in the movie after Tyler gives the Narrator a scar on one of his hands it is not present or is on the wrong hand.
Continuity: When the narrator is in the police interrogation room at the end of the movie with the detectives, the sweat on the neck of his shirt changes from shot to shot.
Continuity: When the Narrator hangs up after calling Tyler in the phone booth, the phone is put in the wrong position. But when the phone rings, it's in the right position again.
Revealing mistakes: When Lou is punching Tyler, Lou punches once and there is blood, it shows Tyler again and there is no blood, and then blood again when he gets punched the second time.
Continuity: When the narrator is in the bathroom whistling, you can see he has a black eye on his right side, when the previous scene it shows him getting punched in the left eye.
Miscellaneous: In the scene depicting Tyler cutting out various news clippings about the exploits of Fight Club/Project Mayhem all of the articles feature the same few paragraphs, and none of them have anything to do with the title of the article.
Boom mic visible: When the narrator is being held down on the table at the police station, a boom mike is visible at the top of the screen for a few seconds.
Continuity: When Jack is firing at Tyler through the glass after trying to ram the door with the chair, there are no bullet-holes on the wall behind.
Continuity: In the first scene, when Tyler looks outside the window, the projector that lights his gun is on at first, but seconds later it's off, without anyone touching it.
Continuity: When Lou of "Lou's Tavern" is beating Tyler Durden, we hear Lou's bodyguard cock this pistol. A second later we see the hammer of the pistol uncocked.

Revealing mistakes: SPOILER: In the scene when Project Mayhem is returning from destroying the Starbucks, Bob is shown in a sequence of being shot in the head, and they uncover his body, showing a massive exit wound. There are two problems with this. In the flashback sequence when he is shot, the police officer is clearly behind him when shooting, and Bob shoots forward chest first, as if getting shot in the back. The second problem is, if shot in the head, most standard police pistols carry 8-9mm rounds. Number one, even if he were shot in the back of the head, the bullet would not create an entrance wound anywhere near that size. Secondly, because he was supposedly shot from the front, there is no possible way that the bullet would create that large of an exit wound.

FIGHT CLUB

2008-07-26T10:37:00.000-07:00

With its kinetic style, visceral approach, compelling storyline, and powerful social message, Fight Club makes a commanding case to be considered the '90s version of A Clockwork Orange. In a time when so few motion pictures leave an impact, Fight Club refuses to be ignored or dismissed. The experience lingers, demanding to be pondered and considered, and, unlike 95% of modern-day thrillers, there is a great deal here to think about and argue over. Fight Club presents an overload of thought-provoking material that works on so many levels as to offer grist for the mills of thousands of reviews, feature articles, and post-screening conversations.

Pre-release interest in Fight Club was understandably high, primarily because of those involved with the project. Jim Uhls' script is based on an influential novel by Chuck Palahniuk (a book that, while not required material in schools, has consumed the free time of countless readers). The lead actor is the ever-popular Brad Pitt, who makes his strongest bid to date to shed his pretty boy image and don the mantle of a serious thespian. Those dubious about Pitt's ability to pull this off in the wake of his recent attempts in Seven Years in Tibet (which is briefly referenced as an in-joke during Fight Club) and Meet Joe Black will suffer a change of heart after seeing this film. Pitt's male co-star, Edward Norton, is widely recognized as one of the most intelligent and versatile performers of his generation. And Fight Club's director, David Fincher, has already made a huge artistic impression on movie-goers with only three features to his credit: Alien 3, Seven (starring Pitt), and The Game. Mix these elements together in Fox's publicity blender, and Fight Club will not carry the title of "Best Movie of 1999 That No One Saw."

The film begins by introducing us to our narrator, Jack, who is brilliantly portrayed by Norton. A chameleon of an actor, Norton seems perfectly suited to every role he plays, whether it's the seemingly-wronged defendant in Primal Fear or the white supremacist in American History X. Here, the actor flows fluidly into the part of a cynical but mild-mannered employee of a major automobile manufacturer who is suffering from a bout of insomnia. When he visits his doctor for a remedy, the disinterested physician tells him to stop whining and visit a support group for testicular cancer survivors if he wants to meet people who really have problems. So Jack does exactly that - and discovers that interacting with these victims gives him an emotional release that allows him to sleep. Soon, he is addicted to attending support group meetings, and has one lined up for each night of the week. That's where he meets Marla Singer (Helena Bonham Carter, looking nothing like the poster girl for British period pieces), another "faker." Unlike Jack, however, she attends purely for the voyeuristic entertainment value.

Then, on what can be described as the worst day of his life (an airline loses his luggage and his apartment unit explodes, destroying all of his possessions), Jack meets the flamboyant Tyler Durden (Brad Pitt), a soap salesman with an unconventional view of life. Since Jack is in need of a place to live, Tyler invites him to move in, and the two share a "dilapidated house in a toxic waste part of town." Tyler teaches Jack lessons about freedom and empowerment, and the two begin to physically fight each other as a means of release and rebirth. Soon, others find out about this unique form of therapy, and Fight Club is born - an underground organization (whose first and second rules are: "You do not talk about Fight Club") that encourages men to beat up each other. But this is only the first step in Tyler's complex master plan.

In addition to lead actors Pitt, Norton, and Bonham Carter, all of whom do impeccable work, there are a pair of notable supporting players. The first is Meat Loaf (yes, that Meat Loaf), who portrays the ineffectual Bob. It's a surprisingly strong performance, with the singer-turned-actor capturing the nuances of a complex character. Jared Leto, who is becoming better known to audiences (he was recently in The Thin Red Line), is the blond Angel Face.

Told in a conventional fashion, Fight Club would still have been engaging. However, Fincher's gritty, restless style turns it into a visual masterpiece. The overall experience is every bit as surreal as watching Kubrick's A Clockwork Orange. This is a tale that unfolds in an eerie alternate universe where the melodies of life have the same rhythm as in ours but are in a different key. Fincher also shows just enough restraint that his flourishes seem like important parts of the storytelling method instead of gimmicks. And there are a lot of them. In one scene, a character's apartment is laid out like a page in a furniture catalog, complete with text blurbs superimposed on the screen describing the various pieces. There are occasional single frame interruptions that flash by so quickly that they may pass unnoticed. The film opens with a truly inventive close-up - one that literally gets under the skin. Also in play: a non-linear chronology, a voiceover by a narrator who might not be entirely reliable, frequent breaking of the fourth wall, and an occasional freeze-frame. As was true of Fincher's other three films, Fight Club is dark and fast-paced. There's not a lot of time for introspection. One could call this MTV style, but, unlike many equally frantic movies, there's a reason for each quick cut beyond preventing viewers from becoming bored.

Perhaps the most discussed aspect of Fight Club will be its attitude towards and graphic depiction of violence. Even before the film's official premiere, voices have been raised claiming that the movie glorifies violence by portraying it as something positive. This was the complaint leveled against A Clockwork Orange, which, less than three decades after its controversial release, is universally regarded as a classic. There's no denying that Fight Club is a violent movie. Some sequences are so brutal that a portion of the viewing audience will turn away. (The scene that caused me to wince was when one character reached into his mouth and pulled out a loose tooth.) But the purpose of showing all this bloody pummeling is to make a telling point about the bestial nature of man and what can happen when the numbing effects of day-to-day drudgery cause people to go a little crazy. The men who become members of Fight Club are victims of the dehumanizing and desensitizing power of modern-day society. They have become cogs in a wheel. The only way they can regain a sense of individuality is by getting in touch with the primal, barbaric instincts of pain and violence.

In A Clockwork Orange, Kubrick depicted the actions of the Droogs but did not condone it. This is Fincher's approach in Fight Club. As the film progresses, he systematically reveals each new turn in an ever-deepening spiral that descends into darkness and madness. There's also a heavy element of satire and black comedy. Macabre humor can be found everywhere, from the pithy quips traded by Jack and Tyler to the way Jack interacts with his boss. When combined together, the satire, violence, and unpredictable narrative make a lasting and forceful statement about modern-day society. It's a timely message that hints at why there are post office shootings and kids in schools killing their fellow students. By blaming movies like Fight Club for real-life horrors, politicians want us to look at the world through rose-colored glasses that they have tinted. Instead, Fincher offers a clear, uncompromising portrait that disturbs because it is perceptive and defies the facile answers proffered by elected officials. Movies are not to blame. Guns are not to blame. People and the society that has spawned and stifled them are.

The film has a scope not hinted at in the trailers. After all, how could 139 minutes of untrained boxers beating the hell out of each other be interesting? Fight Club doesn't need to address that question, because its agenda is much larger. To reveal more, however, would be to disclose twists and surprises best left for each viewer to uncover during his or her own movie-going experience. Of course, as is true of all great films, it is possible to know the entire plot of Fight Club beforehand and still be blown away by the experience.

Without going into specifics, I can state that there is a structural similarity to The Sixth Sense. Here, however, the twist is not the whole point of the movie, and it is integrated more effectively into the overall story. If you figure out the so-called "surprise" in The Sixth Sense before the director wants you to, it's difficult to see that film as more than an overlong, uneven example of overt manipulation. The opposite is true of Fight Club, which possesses the depth and breadth to command the attention and respect of anyone who unveils the central conceit before it is explicitly revealed. It's also worth noting that this doesn't happen at the very end, so, while it is an important aspect of Fight Club, it does not dictate the movie's success or failure.

It remains to be seen whether Fight Club will generate any Oscars. The strength of the writing, direction, and acting justifies a stream of nominations, but quality has never been the driving factor in who is recognized by the Academy. Regardless of how it is received in February, when the nominations are announced, Fight Club is a memorable and superior motion picture - a rare movie that does not abandon insight in its quest to jolt the viewer. This marriage of adrenaline and intelligence will make Fight Club a contender for many Best 10 lists at the end of 1999.

Memorable quotes for Fight Club Part 2

2008-07-26T10:36:00.001-07:00

Marla Singer: A condom is the glass slipper for our generation. You slip one on when you meet a stranger. You dance all night, and then you throw it away. The condom, I mean, not the stranger.
Narrator: What?

Marla Singer: I got this dress at a thrift store for one dollar.
Narrator: It was worth every penny.
Marla Singer: It's a bridesmaid's dress. Someone loved it intensely for one day, and then tossed it. Like a Christmas tree. So special. Then, bam, it's on the side of the road.
[Grabs Narrator's crotch]
Marla Singer: Tinsel still clinging to it. Like a sex crime victim. Underwear inside out. Bound with electrical tape.
Narrator: Well, then it suits you.
Marla Singer: You can borrow it sometime.

Tyler Durden: We're consumers. We are by-products of a lifestyle obsession. Murder, crime, poverty, these things don't concern me. What concerns me are celebrity magazines, television with 500 channels, some guy's name on my underwear. Rogaine, Viagra, Olestra.
Narrator: Martha Stewart.
Tyler Durden: Fuck Martha Stewart. Martha's polishing the brass on the Titanic. It's all going down, man. So fuck off with your sofa units and Strinne green stripe patterns.

[Of Marla]
Tyler Durden: She's a predator posing as a house pet.

Narrator: Marla... the little scratch on the roof of your mouth that would heal if only you could stop tonguing it, but you can't.

Narrator: You had to give it to him: he had a plan. And it started to make sense, in a Tyler sort of way. No fear. No distractions. The ability to let that which does not matter truly slide.

[Pointing at an emergency instruction manual on a plane]
Tyler Durden: Emergency water landing, 600 miles an hour: blank faces, calm as Hindu cows.

Members of Fight Club: [chanting] His name is Robert Paulson.

Tyler Durden: [His face is soaked in blood. He is shaking it over Lou and screaming] You don't know where I've been. You don't know where I've been. Just let us have the basement Lou.

[while the narrator is on the phone with the police]
Tyler Durden: Tell him. Tell him, The liberator who destroyed my property has realigned my perceptions.

Narrator: And then, Tyler was gone.

Marla Singer: You're the worst thing that's ever happened to me.

Richard Chesler: [Reading a piece of paper] The first rule of Fight Club is you don't talk about Fight Club?
Narrator: [Voice-over] I'm half asleep again; I must've left the original in the copy machine.
Richard Chesler: The second rule of Fight Club - is this yours?
Narrator: Huh?
Richard Chesler: Pretend you're me, make a managerial decision: you find this, what would you do?
Narrator: [pauses] Well, I gotta tell you: I'd be very, very careful who you talk to about that, because the person who wrote that... is dangerous.
[Gets up from the chair]
Narrator: [Talking slowly] And this button-down, Oxford-cloth psycho might just snap, and then stalk from office to office with an Armalite AR-10 carbine gas-powered semi-automatic weapon, pumping round after round into colleagues and co-workers. This might be someone you've known for years. Someone very, very close to you.
Narrator: [Voice-over] Tyler's words coming out of my mouth.
[Snatches the piece of paper from boss' hands]
Narrator: [Voice-over] And I used to be such a nice guy.
Narrator: Or maybe you shouldn't bring me every little piece of trash you happen to pick up.
[Phone rings]
Narrator: [Into phone] Compliance and Liability...?
Marla Singer: My tit's gonna rot off.
Narrator: [to boss] Would you excuse me? I need to take this.

Tyler Durden: Self improvement is masturbation. Now self destruction...

Narrator: What are we doing tonight?
Tyler Durden: Tonight? We make soap.
Narrator: Really.
Tyler Durden: To make soap, first we render fat.

Narrator: Hello?
Tyler Durden: [Eating breakfast cereal] Who is this?
Narrator: Tyler?
Tyler Durden: Who is this?
Narrator: Uh... we met... we met on the airplane. We had the same suitcase. Uh... the clever guy?
Tyler Durden: Oh yeah, right.
[Snickers]
Tyler Durden: Ok?
Narrator: I called a second ago, th - there was no answer, I'm at the payphone...
Tyler Durden: - yeah, I *69ed you, I never pick up my phone.
[Crunch, crunch]
Tyler Durden: So what's up, huh?
Narrator: Uh, well... You're not gonna believe this...

Narrator: I know it seems like I have more than one side sometimes...
Marla Singer: More than one side? You're Dr. Jekyll and Mr. Jackass!

Narrator: I flipped through catalogs and wondered: What kind of dining set defines me as a person?

Narrator: Marla's philosophy of life is that she might die at any moment. The tragedy, she said, was that she didn't.

Narrator: I can't get married - I'm a thirty-year-old boy.

Marla Singer: [after taking a bottle of sleeping pills] This isn't a real suicide-thing. This is probably one of those cry-for-help things.

Tyler Durden: Hitting bottom isn't a weekend retreat. It's not a goddamn seminar. Stop trying to control everything and just let go! LET GO!

[to the Narrator who has just fired a warning shot into the window of an explosives filled van]
Tyler Durden: WHOA! WHOA! WHOA! Ok, you are now firing a gun at your 'imaginary friend' near 400 GALLONS OF NITROGLYCERINE!

Narrator: Deja vu - all over again.

Tyler Durden: I'll bring us through this. As always. I'll carry you - kicking and screaming - and in the end you'll thank me.

Narrator: He was full of pep. Must've had his grande-latte enema.

Narrator: Every evening I died, and every evening I was born again, resurrected.

Narrator: We have just lost cabin pressure.

[about Tyler splicing frames of pornography into family films]
Narrator: So when the snoody cat, and the courageous dog, with the celebrity voices meet for the first time in reel three, that's when you'll catch a flash of Tyler's contribution to the film.
[the audience is watching the film, the pornography flashes for a split second]
Narrator: Nobody knows that they saw it, but they did...
Tyler Durden: A nice, big, cock...
[several audience members look rattled, a little girl is crying]
Narrator: Even a hummingbird couldn't catch Tyler at work.

Tyler Durden: [to club owner] Ahhh... okay, okay, okay, I got it, I got it, I got it. Shit, I lost it.
[Club owner punches Tyler in the face]

Tyler Durden: [to the police chief] Hi. You're going to call off your rigorous investigation. You're going to publicly state that there is no underground group. Or... these guys are going to take your balls. They're going to send one to the New York Times, one to the LA Times press-release style. Look, the people you are after are the people you depend on. We cook your meals, we haul your trash, we connect your calls, we drive your ambulances. We guard you while you sleep. Do not... fuck with us.

Narrator: You're insane.
Tyler Durden: No, you're insane.

Narrator: Bob loved me because he thought my testicles were removed too. Being there, pressed against his tits, ready to cry. This was my vacation... and she ruined *everything*.
Marla Singer: This is cancer right?
Narrator: This chick Marla singer did not have testicular cancer. She was a liar. She had no diseases at all. I had seen her at Free and Clear my blood parasite group Thursdays. Then at Hope, my bi-monthly sickle cell circle. And again at Seize the Day, my tuberculous Friday night. Marla... the big tourist. Her lie reflected my lie. Suddenly I felt nothing. I couldn't cry, so once again I couldn't sleep.

Narrator: Bob had bitch tits.

Narrator: Tyler was a night person. While the rest of us were sleeping, he worked. He had one part time job as a projectionist. See, a movie doesn't come all on one big reel. It comes on a few. So someone has to be there to switch the projectors at the exact moment that one reel ends and the next one begins. If you look for it, you can see these little dots come into the upper right-hand corner of the screen.
Tyler Durden: In the industry, we call them "cigarette burns."
Narrator: That's the cue for a changeover. He flips the projectors, the movie keeps right on going, and nobody in the audience has any idea.
Tyler Durden: Why would anyone want this shit job?
Narrator: Because it affords him other interesting opportunities.
Tyler Durden: Like splicing single frames of pornography into family films.

[while narrator is on the phone]
Tyler Durden: Reject the basic assumptions of civilization, especially the importance of material possessions.

Lou: I'm fucking Lou. Who the fuck are you?

Tyler Durden: You're too old, fat man. Your tits are too big.
[Tyler walks away, throwing his cigarette]
Tyler Durden: Get the fuck off my porch.

Narrator: We have front row seats for this theatre of mass destruction. The demolitions committee of Project Mayhem wrapped the foundation columns of a dozen buildings with blasting gelatin. In two minutes primary charges will blow base charges and a few square blocks will be reduced to smoldering rubble. I know this, because Tyler knows this.

Narrator: Tyler, I'm grateful to you; for everything that you've done for me. But this is too much. I don't want this.
Tyler Durden: What do you want? Wanna go back to the shit job, fuckin' condo world, watching sitcoms? Fuck you, I won't do it.

[the Narrator's apartment has just been blown to pieces]
Narrator: I had it all. I had a stereo that was very decent, a wardrobe that was getting very respectable. I was close to being complete.
Tyler Durden: Shit man, now it's all gone.

Narrator: Clean food, please.
Waiter: In that case, sir, may I advise against the lady eating clam chowder?
Narrator: No clam chowder, thank you.

Marla Singer: Listen. I tried Tyler. I really tried. There are things about you that I like, you're smart, you're funny, you're spectacular in bed. But you are intolerable. You have serious emotional problems, deep seated problems for which you should seek professional help.

Narrator: By the end of the first month, I didn't miss TV.

Tyler Durden: Would you like to say a few words to mark the occasion?
Narrator: [with Tyler's gun in his mouth] mm mm mm mm mm mmmmmm.
[Tyler removes the gun]
Narrator: I still can't think of anything.
Tyler Durden: Ah. Flashback humor.

Narrator: [on phone with Marla] Marla, did we ever have sex?
Marla Singer: What? Do you mean did I think we were just having sex or making love?
Narrator: Marla just answer the question. Did we ever have sex.
Marla Singer: Ok. You fuck me, then snub me. You love me, you hate me. You show me a sensitive side, then you turn into a total asshole. Is this a pretty accurate description of our relationship, Tyler?
Narrator: Wait. What did you just call me?
Marla Singer: Tyler. Tyler Durden. Tyler Durden, you crazy fuck!

Narrator: If I didn't say anything, people always assumed the worst.

Narrator: I wasn't really dying. I wasn't host to cancer or parasites. I was the warm little center that the life of this world crowded around.

Narrator: Most of the week we were Ozzie and Harriet, but every Saturday night we were finding something out: we were finding out more and more that we were not alone. It used to be that when I came home angry and depressed I'd just clean my condo, polish my Scandinavian furniture. I should have been looking for a new condo. I should have been haggling with my insurance company. I should have been upset about my nice, neat, flaming little shit. But I wasn't.

[after beating an 'applicant' with a broom]
Narrator: I'm gonna go inside and I'm gonna get a shovel.

Tyler Durden: Just tell him you fuckin' did it. Tell him you blew it all up. That's what he wants to hear.

Marla Singer: I've been going to Debtor's Anonymous. You want to see some really fucked-up people...

Narrator: You're making a big mistake, fellas!
Police Officer: You said you would say that.
Narrator: I'm not Tyler Durden!
Police Officer: You told us you'd say that, too.
Narrator: All right then, I'm Tyler Durden. Listen to me, I'm giving you a direct order. We're aborting this mission right now.
Police Officer: You said you would definitely say that.

Police Officer: You said that if anyone ever interferes with Project Mayhem, even you, we gotta get his balls.

Narrator: Tyler was now involved in a class action lawsuit against the Pressman Hotel over the urine content of their soup.

Tyler Durden: We're a generation of men raised by women. I'm wondering if another woman is really the answer we need.

Narrator: Home was a condo on the fifteenth floor of a filing cabinet for widows and young professionals. The walls were solid concrete. A foot of concrete is important when your next-door neighbor lets their hearing aid go and have to watch game-shows at full volume. Or when a volcanic blast of debris that used to be your furniture and personal effects blows out of your floor-to-ceiling windows and sails flaming into the night. I suppose these things happen.

Narrator: You can swallow a pint of blood before you get sick.

Richard Chesler: Get the fuck out of here, you're fired!
Narrator: I have a better solution. You keep me on the payroll as an outside consultant and in exchange for my salary, my job will be never to tell people these things that I know. I don't even have to come into the office, I can do this job from home.

Narrator: It's just, when you buy furniture, you tell yourself, that's it. That's the last sofa I'm gonna need. Whatever else happens, I've got that sofa problem handled.

[after giving Marla a breast exam]
Marla Singer: I wish I could return the favor.
Narrator: There's not a lot of breast cancer in the men in my family.
Marla Singer: I could check your prostate.

Narrator: When deep space exploration ramps up, it'll be the corporations that name everything, the IBM Stellar Sphere, the Microsoft Galaxy, Planet Starbucks.

Tyler Durden: Well you did lose a lot of versatile solutions for modern living

Narrator: Bob is dead, they shot him in the head!
Tyler Durden: You wanna make an omelet, you gotta break some eggs.

Narrator: It's called a changeover. The movie goes on, and nobody in the audience has any idea.

Tyler Durden: Now why would you want to put a gun to your head?
Narrator: Not my head, Tyler. Our head.

Tyler Durden: [the Narrator places the gun under his chin and cocks back the hammer] Now why would you want to go and blow your head off?
Narrator: Not my head, Tyler, *our* head.

Tyler Durden: [the Narrator is trying to disarm a car bomb of nitroglycerin] You don't know which wire to pull.
Narrator: I know everything you do, so if you know I know.
Tyler Durden: Or maybe, since I knew you'd know I spent all days thinking about the wrong wires.
[Narrator pauses]

Narrator: I want you to listen to me very carefully, Tyler.
Tyler Durden: Okay...
Narrator: My eyes are open.
[the Narrator puts the gun into his mouth and pulls trigger]

Doctor: You wanna see pain? Swing by First Methodist Tuesday nights. See the guys with testicular cancer. That's pain.

Tyler Durden: We are all part of the same compost heap.

Tyler Durden: Now, ancient people found their clothes got cleaner if they washed them at a certain spot in the river. You know why?
Narrator: No.
Tyler Durden: Human sacrifices were once made on the hills above this river. Bodies burnt, water speeded through the wood ashes to create lye.
[holds up a bottle]
Tyler Durden: This is lye - the crucial ingredient. The lye combined with the melted fat of the bodies, till a thick white soapy discharge crept into the river. May I see your hand, please?
[Tyler licks his lips until they're gleaming wet - he takes the Narrator's hand and kisses the back of it]
Narrator: What is this?
Tyler Durden: This...
[pours the lye on the Narrator's hand]
Tyler Durden: ... is chemical burn.

Ricky: [to Bob, while interviewing for applicants] You're too old fat man.
[to Angel Face]
Ricky: And you, you are too fucking... *blonde*!

Narrator: Tyler's not here. Tyler went away. Tyler's gone.

Narrator: Fuck you! Fuck Fight Club! Fuck Marla! I am sick of all your shit!

Narrator: You're fucking Marla, Tyler.
Tyler Durden: Uh, technically, you're fucking Marla, but it's all the same to her.

Tyler Durden: Something on your mind, Dear?

Angel Face: Bury him in the garden. Come on people, let's go!
Narrator: Get away from him! Get the fuck away!
Angel Face: He was killed serving Project Mayhem, sir.
Narrator: This is Bob. He was a decent man and we're not gonna bury him in the fucking garden!

Narrator: A house full of condiments and no food... how embarrassing.

Ricky: I can't believe he's still standing.
Thomas: One tough motherfucker.

Tyler Durden: This is a chemical burn. It will hurt more than you've ever been burned before. You will have a scar.

Narrator: I had it all. Even the glass dishes with tiny bubbles and imperfections, proof they were crafted by the honest, simple, hard-working indigenous peoples of... wherever.

Tyler Durden: If you could fight anyone, who would you fight?
Narrator: I'd fight my boss, prob'ly.
Tyler Durden: Really.
Narrator: Yeah, why, who would you fight?
Tyler Durden: I'd fight my dad.
Narrator: I don't know my dad. I mean, I know him, but... he left when I was like six years old. Married this other woman, had some other kids. He like did this every six years, he goes to a new city and starts a new family.
Tyler Durden: Fucker's setting up franchises.

Angel Face: [the Narrator is about to look at some files but Angel Face stops him] Don't worry. It's all taken care of, sir.

Tyler Durden: Warning: If you are reading this then this warning is for you. Every word you read of this useless fine print is another second off your life. Don't you have other things to do? Is your life so empty that you honestly can't think of a better way to spend these moments? Or are you so impressed with authority that you give respect and credence to all that claim it? Do you read everything you're supposed to read? Do you think every thing you're supposed to think? Buy what you're told to want? Get out of your apartment. Meet a member of the opposite sex. Stop the excessive shopping and masturbation. Quit your job. Start a fight. Prove you're alive. If you don't claim your humanity you will become a statistic. You have been warned- Tyler.

Narrator: When the fight was over, nothing was solved, but nothing mattered. We all felt saved.

Narrator: [voiceover] It must've been Tuesday. He was wearing his cornflower-blue tie.

Narrator: [as he holds a gun to his mouth] Do something for me.
Tyler Durden: What?
Narrator: Appreciate something.
Tyler Durden: What?
Narrator: Look at me...
Tyler Durden: What?
Narrator: My eyes are open.

Narrator: If you could be either God's worst enemy or nothing, which would you choose? We're the middle children of history, we have no special purpose or place, and unless we get God's attention, we have no hope of damnation or redemption. Which is worse, hell or nothing? Burn the museums, wipe your ass with the Mona Lisa. This way, at least God will know your name.

Narrator: Like so many others, I had become a slave to the Ikea nesting instinct.

Tyler Durden: My dad never went to college, so it was real important that I go.
Narrator: Sounds familiar.
Tyler Durden: So I graduate, I call him up long distance, I say "Dad, now what?" He says, "Get a job."
Narrator: Same here.
Tyler Durden: Now I'm 25, make my yearly call again. I say Dad, "Now what?" He says, "I don't know, get married."
Narrator: I can't get married, I'm a 30 year old boy.
Tyler Durden: We're a generation of men raised by women. I'm wondering if another woman is really the answer we need.

Narrator: I’ve found a new one. For men *only*.
Marla Singer: Oh, is it a testicle thing?

Narrator: With insomnia, nothing's real. Everything's far away, everything's a copy

Narrator: What do you do?
Tyler Durden: What do you mean?
Narrator: What do you do for a living?
Tyler Durden: Why? So you can pretend like you're interested?

Narrator: Why wasn't I told about Project Mayhem?
Tyler Durden: What are you talking about?
Narrator: Why didn't you include me, in the beginning?
Tyler Durden: Fight Club *was* the beginning.

Memorable quotes for Fight Club Part 1

2008-07-26T10:34:00.001-07:00

Narrator: You wake up at Seatac, SFO, LAX. You wake up at O'Hare, Dallas-Fort Worth, BWI. Pacific, mountain, central. Lose an hour, gain an hour. This is your life, and it's ending one minute at a time. You wake up at Air Harbor International. If you wake up at a different time, in a different place, could you wake up as a different person?

Narrator: This is your life and it's ending one minute at a time.

Lou: [Lou hits Tyler in the face] Do you hear me now?
Tyler Durden: No I didn't quite catch that Lou.
[Lou hits Tyler again]
Tyler Durden: Still not getting it.
[Lou hits Tyler a few more times]
Tyler Durden: Ok, I got it. Shit I lost it.
[Lou continues to beat up Tyler]

Tyler Durden: Fuck off with your sofa units and strine green stripe patterns, I say never be complete, I say stop being perfect, I say let... lets evolve, let the chips fall where they may.

Tyler Durden: Fight Club was the beginning, now it's moved out of the basement, it's called Project Mayhem.

Tyler Durden: Only after disaster can we be resurrected.

Narrator: [Tyler steers the car into the opposite lane and accelerates] What are you doing?
Tyler Durden: Guys, what would you wish you'd done before you died?
Steph: Paint a self-portrait.
The Mechanic: Build a house.
Tyler Durden: [to Narrator] And you?
Narrator: I don't know. Turn the wheel now, come on!
Tyler Durden: You have to know the answer to this question! If you died right now, how would you feel about your life?
Narrator: I don't know, I wouldn't feel anything good about my life, is that what you want to hear me say? Fine. Come on!
Tyler Durden: Not good enough.

Tyler Durden: Now, a question of etiquette - as I pass, do I give you the ass or the crotch?

Tyler Durden: [whispering] Tell him the liberator who destroyed my property has realigned my perception.

Tyler Durden: Tomorrow will be the most beautiful day of Raymond K. Hessel's life. His breakfast will taste better than any meal you and I have ever tasted.

Tyler Durden: Hey, you created me. I didn't create some loser alter-ego to make myself feel better. Take some responsibility!

[first lines]
[Tyler points a gun into the Narrator's mouth]
Narrator: [voiceover] People are always asking me if I know Tyler Durden.
Tyler Durden: Three minutes. This is it - ground zero. Would you like to say a few words to mark the occasion?
Narrator: ...i... ann... iinn... ff... nnyin...
Narrator: [voiceover] With a gun barrel between your teeth, you speak only in vowels.
[Tyler removes the gun from the Narrator's mouth]
Narrator: I can't think of anything.
Narrator: [voiceover] For a second I totally forgot about Tyler's whole controlled demolition thing and I wonder how clean that gun is.

Tyler Durden: Would you like to say a few words to mark the occasion?
Narrator: mumbles...
Tyler Durden: I'm sorry...
Narrator: I still can't think of anything.
Tyler Durden: Ah... flashback humor.

Narrator: This is crazy...
Tyler Durden: People do it everyday, they talk to themselves... they see themselves as they'd like to be, they don't have the courage you have, to just run with it.

Tyler Durden: Did you know if you mixed equal parts of gasoline and frozen orange juice concentrate you can make napalm?
Narrator: No. I did not know that. Is that true?
Tyler Durden: That's right; one can make all kinds of explosives using simple household items...
Narrator: Really?
Tyler Durden: If one were so inclined.

Tyler Durden: Fuck damnation, man! Fuck redemption! We are God's unwanted children? So be it!
Narrator: OK. Give me some water!
Tyler Durden: Listen, you can run water over your hand and make it worse or...
[shouts]
Tyler Durden: look at me... or you can use vinegar and neutralize the burn.
Narrator: Please let me have it... *Please*!
Tyler Durden: First you have to give up, first you have to *know*... not fear... *know*... that someday you're gonna die.

Tyler Durden: All right, if the applicant is young, tell him he's too young. Old, too old. Fat, too fat. If the applicant then waits for three days without food, shelter, or encouragement he may then enter and begin his training.

Narrator: We have front row seats for this theater of mass destruction. The demolition committee of Project Mayhem wrapped the foundation columns of a dozen buildings with blasting gelatin. In two minutes, primary charges will blow base charges and a few square blocks will be reduced to smoldering rubble. I know this... because Tyler knows this.

Robert 'Bob' Paulson: Go ahead, Cornelius, you can cry.

Marla Singer: Candy-stripe a cancer ward. It's not my problem.

Tyler Durden: [pointing at an emergency instruction manual on a plane] You know why they put oxygen masks on planes?
Narrator: So you can breath.
Tyler Durden: Oxygen gets you high. In a catastrophic emergency, you're taking giant panicked breaths. Suddenly you become euphoric, docile. You accept your fate. It's all right here. Emergency water landing - 600 miles an hour. Blank faces, calm as Hindu cows.
Narrator: That's, um... That's an interesting theory.

Marla Singer: I've got a stomachful of Xanax. I took what was left of a bottle. It might have been too much.

Marla Singer: Your whacked out bald freaks hit me with a fucking broom! They almost broke my arm! They we're burning their fingertips with lye, the stink was unbelievable!

Tyler Durden: It's getting exciting now, 2 and 1/2. Think of everything we've accomplished, man. Out these windows, we will view the collapse of financial history. One step closer to economic equilibrium.

Narrator: Tyler, what the fuck is going on here?
Tyler Durden: I ask you for one thing, one simple thing.
Narrator: Why do people think that I'm you? Answer me!
Tyler Durden: Sit.
Narrator: Now answer me, why do people think that I'm you.
Tyler Durden: I think you know.
Narrator: No, I don't.
Tyler Durden: Yes, you do. Why would anyone possibly confuse you with me?
Narrator: Uh... I... I don't know.
[Random flashbacks]
Tyler Durden: You got it.
Narrator: No.
Tyler Durden: Say it.
Narrator: Because...
Tyler Durden: Say it.
Narrator: Because we're the same person.
Tyler Durden: That's right.

[after vigorous sex with Tyler Durden]
Marla Singer: My God. I haven't been fucked like that since grade school.

Narrator: I am Jack's smirking revenge.

Tyler Durden: Man, I see in fight club the strongest and smartest men who've ever lived. I see all this potential, and I see squandering. God damn it, an entire generation pumping gas, waiting tables; slaves with white collars. Advertising has us chasing cars and clothes, working jobs we hate so we can buy shit we don't need. We're the middle children of history, man. No purpose or place. We have no Great War. No Great Depression. Our Great War's a spiritual war... our Great Depression is our lives. We've all been raised on television to believe that one day we'd all be millionaires, and movie gods, and rock stars. But we won't. And we're slowly learning that fact. And we're very, very pissed off.

Narrator: First person that comes out this fucking door gets a... gets a *lead salad*, you understand?

Tyler Durden: All the ways you wish you could be, that's me. I look like you wanna look, I fuck like you wanna fuck, I am smart, capable, and most importantly, I am free in all the ways that you are not.

Narrator: [V.O] This is Bob. Bob had bitch tits.
[Camera pans to a REMAINING MEN TOGETHER sign]
Narrator: [V.O] This was a support group for men with testicular cancer. The big moosie slobbering all over me... that was Bob.
Robert 'Bob' Paulson: We're still men.
Narrator: [slightly muffled due to Bob's enormous breasts] Yes, we're men. Men is what we are.
Narrator: [V.O] Eight months ago, Bob's testicles were removed. Then hormone therapy. He developed bitch tits because his testosterone was too high and his body upped the estrogen. And that was where I fit...
Robert 'Bob' Paulson: They're gonna have to open my pecs again to drain the fluid.
Narrator: [V.O] Between those huge sweating tits that hung enormous, the way you'd think of God's as big.

Tyler Durden: It's only after we've lost everything that we're free to do anything.

Tyler Durden: [his last words] What's that smell?

Richard Chesler: Is that your blood?
Narrator: Some of it, yeah.

Narrator: Oh, it's late. Hey, thanks for the beer.
Tyler Durden: Yeah, man.
Narrator: I should find a hotel.
Tyler Durden: [in disbelief] What?
Narrator: What?
Tyler Durden: A hotel?
Narrator: Yeah.
Tyler Durden: Just ask, man.
Narrator: What are you talking about?
Tyler Durden: [laughs] Three pitchers of beer, and you still can't ask.
Narrator: What?
Tyler Durden: You call me because you need a place to stay.
Narrator: Oh, hey, no, no, no, I didn't mean...
Tyler Durden: Yes, you did. So just ask. Cut the foreplay and just ask.
Narrator: Would - would that be a problem?
Tyler Durden: Is it a problem for you to ask?
Narrator: Can I stay at your place?
Tyler Durden: Yeah.

Tyler Durden: In the world I see - you are stalking elk through the damp canyon forests around the ruins of Rockefeller Center. You'll wear leather clothes that will last you the rest of your life. You'll climb the wrist-thick kudzu vines that wrap the Sears Tower. And when you look down, you'll see tiny figures pounding corn, laying strips of venison on the empty car pool lane of some abandoned superhighway.

Tyler Durden: Where'd you go psycho boy?
Narrator: I felt like destroying something beautiful.

Tyler Durden: You're not your job. You're not how much money you have in the bank. You're not the car you drive. You're not the contents of your wallet. You're not your fucking khakis. You're the all-singing, all-dancing crap of the world.

Narrator: When you have insomnia, you're never really asleep... and you're never really awake.

Tyler Durden: Listen up, maggots. You are not special. You are not a beautiful or unique snowflake. You're the same decaying organic matter as everything else.

Narrator: On a long enough timeline, the survival rate for everyone drops to zero.

Tyler Durden: The first rule of Fight Club is - you do not talk about Fight Club. The second rule of Fight Club is - you DO NOT talk about Fight Club. Third rule of Fight Club, someone yells Stop!, goes limp, taps out, the fight is over. Fourth rule, only two guys to a fight. Fifth rule, one fight at a time, fellas. Sixth rule, no shirt, no shoes. Seventh rule, fights will go on as long as they have to. And the eighth and final rule, if this is your first night at Fight Club, you have to fight.

Narrator: [about the soap] Tyler sold his soap to department stores at $20 a bar. Lord knows what they charged. It was beautiful. We were selling rich women their own fat asses back to them.

Narrator: When people think you're dying, they really, really listen to you, instead of just...
Marla Singer: - instead of just waiting for their turn to speak?

[after meeting and having sex with Marla]
Tyler Durden: Man, you've got some fucked up friends, I'm tellin' ya. Limber, though...

Tyler Durden: The things you own end up owning you.

Narrator: Well, what do you want me to do? You just want me to hit you?
Tyler Durden: C'mon, do me this one favor.
Narrator: Why?
Tyler Durden: Why? I don't know why; I don't know. Never been in a fight. You?
Narrator: No, but that's a good thing.
Tyler Durden: No, it is not. How much can you know about yourself, you've never been in a fight? I don't wanna die without any scars. So come on; hit me before I lose my nerve.
Narrator: This is crazy.
Tyler Durden: So go crazy. Let 'er rip.
Narrator: I don't know about this.
Tyler Durden: I don't either. Who gives a shit? No one's watching. What do you care?
Narrator: Whoa, wait, this is crazy. You want me to hit you?
Tyler Durden: That's right.
Narrator: What, like in the face?
Tyler Durden: Surprise me.
Narrator: This is so fucking stupid...
[Narrator swings, connects against Tyler's head]
Tyler Durden: Motherfucker! You hit me in the ear!
Narrator: Well, Jesus, I'm sorry.
Tyler Durden: Ow, Christ... why the ear, man?
Narrator: Guess I fucked it up...
Tyler Durden: No, that was perfect!

Narrator: [to Tyler, while looking at a Calvin Klein-esque ad on the bus] Is that what a real man is supposed to look like?

Narrator: [being embraced by Bob at the group therapy session for Testicular Cancer] Strangers with this kind of honesty make me go a big rubbery one.

Tyler Durden: God Damn! We just had a near-life experience, fellas.

[Tyler and Jack stand in the bathroom doorway, watching Steph finish shaving off all of his hair. Tyler comes to give the top of Steph's head a sharp slap]
Tyler Durden: Like a monkey, ready to be shot into space. Space monkey! Ready to sacrifice himself for the greater good.
Tyler Durden: From now on, all those with shaved heads: "Space Monkeys".

[Tyler and Narrator are discussing ideal opponents]
Tyler Durden: OK: any historic figure.
Narrator: I'd fight Gandhi.
Tyler Durden: Good answer.
Narrator: How about you?
Tyler Durden: Lincoln.
Narrator: Lincoln?
Tyler Durden: Big guy, big reach. Skinny guys fight 'til they're burger.

Narrator: A new car built by my company leaves somewhere traveling at 60 mph. The rear differential locks up. The car crashes and burns with everyone trapped inside. Now, should we initiate a recall? Take the number of vehicles in the field, A, multiply by the probable rate of failure, B, multiply by the average out-of-court settlement, C. A times B times C equals X. If X is less than the cost of a recall, we don't do one.
Business woman on plane: Are there a lot of these kinds of accidents?
Narrator: You wouldn't believe.
Business woman on plane: Which car company do you work for?
Narrator: A major one.

Tyler Durden: Did you know that if you mix equal parts of gasoline and frozen orange juice concentrate you can make napalm?
Narrator: No, I did not know that; is that true?
Tyler Durden: That's right... One could make all kinds of explosives, using simple household items.
Narrator: Really...?
Tyler Durden: If one were so inclined.
Narrator: Tyler, you are by far the most interesting single-serving friend I've ever met... see I have this thing: everything on a plane is single-serving...
Tyler Durden: Oh I get it, it's very clever.
Narrator: Thank you.
Tyler Durden: How's that working out for you?
Narrator: What?
Tyler Durden: Being clever.
Narrator: Great.
Tyler Durden: Keep it up then... Right up.
[Gets up from airplane seat]
Tyler Durden: Now a question of etiquette; as I pass, do I give you the ass or the crotch...?

Tyler Durden: You have a kind of sick desperation in your laugh.

[while burning the Narrator's hand with lye]
Tyler Durden: Shut up! Our fathers were our models for God. If our fathers bailed, what does that tell you about God?
Narrator: No, no, I... don't...
Tyler Durden: Listen to me! You have to consider the possibility that God does not like you. He never wanted you. In all probability, he hates you. This is not the worst thing that can happen.
Narrator: It isn't?
Tyler Durden: We don't need him!

First Man at Auto Shop: Here's where the infant's head went through the wind-shield. Three points.
Man #2 at Auto Shop: The teenagers braces are still wrapped around the backseat ashtray. Might make a good anti-smoking ad.
First Man at Auto Shop: The driver must have been huge, see where the fat burned to the seat? The polyester shirt? Very modern art.
[they laugh]

Marla Singer: There are things about you that I like. You're smart, you're funny, you're... spectacular in bed... But you're intolerable! You have very serious emotional problems. Deep seated problems for which you should seek professional help.
Narrator: I know, and I'm sorry...
Marla Singer: Yeah, you're sorry, I'm sorry, everybody's sorry, but... I can't do this anymore. I can't. And I won't. I'm gone.

Tyler Durden: Sticking feathers up your butt does not make you a chicken.

Narrator: I am Jack's cold sweat.

[Holding up a wad of cash]
Marla Singer: You're not getting this back. I consider it asshole tax.

Narrator: If I did have a tumor, I'd name it Marla.

[meeting aboard an airliner]
Narrator: What do you do for a living?
Tyler Durden: Why? So you can pretend like you're interested?

Narrator: He was *the* guerilla terrorist in the food service industry.
[the Narrator looks at Tyler, who's urinating in a pot]
Tyler Durden: Do not watch. I cannot go when you watch.
Narrator: Apart from seasoning the lobster bisque, he farted on the meringue, sneezed on braised endive, and as for the cream of mushroom soup, well...
Tyler Durden: [snickers] Go ahead. Tell 'em.
Narrator: ...you get the idea.

Narrator: I am Jack's raging bile duct.

Narrator: Oh, yeah, Chloe... Chloe looked the way Meryl Streep's skeleton would look if you made it smile and walk around the party being extra nice to everybody.
Chloe: Well, I'm still here. But I don't know for how long. That's as much certainty as anyone can give me. But I've got some good news: I no longer have any fear of death. But... I am in a pretty lonely place. No-one will have sex with me. I'm so close to the end and all I want is to get laid for the last time. I have pornographic movies in my apartment, and lubricants, and amyl nitrite...
[the group leader takes the mic]
Group Leader: Thank you, Chloe... everyone, let's thank Chloe.

Narrator: A guy who came to Fight Club for the first time, his ass was a wad of cookie dough. After a few weeks, he was carved out of wood.

Narrator: I ran. I ran until my muscles burned and my veins pumped battery acid. Then I ran some more.

Narrator: After fighting, everything else in your life got the volume turned down.

Narrator: If you wake up at a different time in a different place, could you wake up as a different person?

Tyler Durden: Without pain, without sacrifice, we would have nothing. Like the first monkey shot into space.

Narrator: And then, something happened. I let go. Lost in oblivion. Dark and silent and complete. I found freedom. Losing all hope was freedom.

Tyler Durden: Do you know what a duvee is?
Narrator: It's a comforter...
Tyler Durden: It's a blanket. Just a blanket. Now why do guys like you and me know what a duvee is? Is this essential to our survival, in the hunter-gatherer sense of the word? No. What are we then?
Narrator: ...Consumers?
Tyler Durden: Right. We are consumers. We're the bi-products of a lifestyle obsession.

Narrator: [while brutally beating Angel Face] I felt like putting a bullet between the eyes of every Panda that wouldn't screw to save its species. I wanted to open the dump valves on oil tankers and smother all the French beaches I'd never see. I wanted to breathe smoke.

Narrator: [reading] I am Jack's colon.
Tyler Durden: I get cancer, I kill Jack.

[after deliberately crashing the car on the side of the road]
Tyler Durden: Goddamn!
[Histerical laughs]
Tyler Durden: You just had a near-life experience!

Narrator: Everywhere I travel, tiny life. Single-serving sugar, single-serving cream, single pat of butter. The microwave Cordon Bleu hobby kit. Shampoo-conditioner combos, sample-packaged mouthwash, tiny bars of soap. The people I meet on each flight? They're single-serving friends.

Narrator: I'll tell you: we'll split up the week, okay? You take lymphoma, and tuberculosis...
Marla Singer: You take tuberculosis. My smoking doesn't go over at all.
Narrator: Okay, good, fine. Testicular cancer should be no contest, I think.
Marla Singer: Well, technically, I have more of a right to be there than you. You still have your balls.
Narrator: You're kidding.
Marla Singer: I don't know... am I?
Narrator: No, no! What do you want?
Marla Singer: I'll take the parasites.
Narrator: You can't have both the parasites, but while you take the blood parasites...
Marla Singer: I want brain parasites.
Narrator: I'll take the blood parasites. But I'm gonna take the organic brain dementia, okay?
Marla Singer: I want that.
Narrator: You can't have the whole brain, that's...
Marla Singer: So far you have four, I only have two!
Narrator: Okay. Take both the parasites. They're yours. Now we both have three...

Narrator: I am Jack's complete lack of surprise.

Tyler Durden: It could be worse. A woman could cut off your penis while you're sleeping and toss it out the window of a moving car.
Narrator: There's always that.

[the narrator pulls a loose tooth out of his mouth]
Narrator: Fuck.
Tyler Durden: Hey, even the Mona Lisa's falling apart.

[about attending support groups for diseases she doesn't have]
Marla Singer: It's cheaper than a movie, and there's free coffee.

Narrator: Look, nobody takes this more seriously than me. That condo was my life, okay? I loved every stick of furniture in that place. That was not just a bunch of stuff that got destroyed, it was ME!
[voice-over]
Narrator: I'd like to thank the Academy...

Narrator: I am Jack's wasted life.

Narrator: I am Jack's inflamed sense of rejection.

Tyler Durden: Fuck what you know. You need to forget about what you know, that's your problem. Forget about what you think you know about life, about friendship, and especially about you and me.

Narrator: I am Jack's broken heart.

Narrator: Is Tyler my bad dream? Or am I Tyler's?

[last lines]
Narrator: You met me at a very strange time in my life.

Narrator: Life insurance pays off triple if you die on a business trip.

Narrator: Was it ticking?
Airport Security Officer: Actually throwers don't worry about ticking 'cause modern bombs don't tick.
Narrator: Sorry, throwers?
Airport Security Officer: Baggage handlers. But, when a suitcase vibrates, then the throwers gotta call the police.
Narrator: My suitcase was vibrating?
Airport Security Officer: Nine times out of ten it's an electric razor, but every once in a while...
[whispering]
Airport Security Officer: it's a dildo. Of course it's company policy never to, imply ownership in the event of a dildo... always use the indefinite article a dildo, never your dildo.
Narrator: I don't own...
[Officer waves Narrator off]

Narrator: With a gun barrel between your teeth, you speak only in vowels.

Narrator: Fight club wasn't about winning or losing. It wasn't about words. The hysterical shouting was in tongues, like at a Pentecostal Church.

Narrator: I got in everyone's hostile little face. Yes, these are bruises from fighting. Yes, I'm comfortable with that. I am enlightened.

Tyler Durden: The salt balance has to be just right, so the best fat for making soap comes from humans.
Narrator: Wait. What is this place?
Tyler Durden: A liposuction clinic.

Narrator: Except for their humping, Tyler and Marla were never in the same room. My parents pulled this exact same act for years.

Movie connections for Fight Club

2008-07-26T10:32:00.000-07:00

Spin off

Fight Club (2004) (VG)
- Video game version of the movie

References

The Invisible Man (1933)
- Someone mentions The Invisible Man.
Cinderella (1950)
- Referenced in the dialogue: "A dream is a wish your heart makes."
"The Adventures of Ozzie & Harriet" (1952)
- Ozzie and Harriet's Son is visible on a magazine cover.
The War of the Worlds (1953)
- on shelf in video store
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)
- "Well, I've been to one world fair, a picnic, and a rodeo, and that's the stupidest thing I ever heard come over a set of earphones."
"Star Trek" (1966)
- The boxed set of Star Trek can be seen in the video shop being trashed
Persona (1966)
- The idea of an image of a penis spliced into a cartoon was borrowed from _Persona_.
"The Prisoner" (1967)
- A video of The Prisoner can be seen in the video store getting erased
Valley of the Dolls (1967)
- mentioned once
The Graduate (1967)
- A character performs The Sound of Silence
Zabriskie Point (1970)
- The aerial shot of Tyler Durden (Pitt)
Performance (1970)
- on shelf in video store
Trash (1970)
- on shelf in video store
Kung Fu (1972) (TV)
- The boxed set of Kung Fu can be seen in the video shop being trashed
Meng long guo jiang (1972)
- on shelf in video store
Hard Times (1975)
- Referenced during a talk
Halloween (1978)
- A Poster seen attached to the wall
Apocalypse Now (1979)
- "Sir, I am unaware of any such activity or operation - nor would I be disposed to discuss such an operation if it did in fact exist, sir."
Alien (1979)
- several alien (1979) movies in the video store getting erased
Raging Bull (1980)
- Referenced in dialogue
The King of Comedy (1982)
- Edward Norton's character visits self-help groups using various Robert De Niro film character names. The first one he uses is "Rupert", a direct reference to The King Of Comedy.
The Adventures of Buckaroo Banzai Across the 8th Dimension (1984)
- The phone call of "Phone call for John Bigboote" can be heard.
Nineteen Eighty-Four (1984)
- Several dialogue lines refering to various "institutes" and "hate-crime", as well as the antagonist called "Father" in reference to "Big Brother".
Starman (1984)
- on shelf in video store
Brazil (1985)
- The Car car can catch on fire as seen from an overhead view and Tyler Durden is also set on fire and seen from an overhead view
Raising Arizona (1987)
- Tyler Durden (Pitt) is wearing a panty on his head
Withnail & I (1987)
- The film is mentioned
"Dragon Ball Z" (1989/I)
- The boxed set of Dragon Ball Z can be seen in the video shop being trashed
Total Recall (1990)
- A video of Total Recall is in the video store getting erased
Class Action (1991)
- The car crash dilemma of "recall vs. out-of-court settlement" is the same that Dr. George Getchell explains to Maggie Ward, about the Meridian.
Star Trek VI: The Undiscovered Country (1991)
- A video of Star Trek VI: The Undiscovered Country is in the video store getting erased
Roadside Prophets (1992)
- The bar John Doe goes to at the beginning of Roadside Prophets is the same one later used by Brad Pitt and Edward Norton in Fight Club for their underground fights.
"The X Files: Pilot (#1.0)" (1993)
- Mentioned in the dialogue
"The X Files" (1993)
- The boxed set of The X Files can be seen in the video shop being trashed
Forrest Gump (1994)
- After Tyler Durden threatens the shop clerk who wished to be a vetenarian,the clerk runs off and Tyler shouts 'Run Forrest,run!'
Bad Boys (1995)
- A video of Bad Boys (1995) is in the video store getting erased
Batman Forever (1995)
- A video of Batman Forever is in the video store getting erased
Margaret's Museum (1995)
- "Because at this age, it was the most important thing he had. "
Se7en (1995)
- A video of Seven is in the video store getting erased
Twelve Monkeys (1995)
- Tyler Durden (Pitt) talks about people being consumers, Jeffrey Goines (also Pitt) in Twelve Monkeys does the same thing when giving Bruce Willis the tour through the asylum.
Trainspotting (1996)
- on shelf in video store
Independence Day (1996)
- There is a poster for Independence Day outside the video store that members of Project Mayhem come in to erase the VHS tapes.
Liar Liar (1997)
- on shelf in video store
Spawn (1997)
- Seen on a marquee when Jack puts Marla on the bus.
Seven Years in Tibet (1997)
- Seen on a marquee when Jack puts Marla on the bus.
Spice World (1997)
- on shelf in video store
Lethal Weapon 4 (1998)
- A video of Lethal Weapon 4 is in the video store getting erased
Blade (1998)
- on shelf in video store
Following (1998)
One True Thing (1998)
- on shelf in video store
American Beauty (1999)
- Seen on a marquee when Jack puts Marla on the bus.

Referenced in

Girl, Interrupted (1999)
On Location: Fight Club (2000) (V)
Tight Club (2000) (V)
- title reference
"The X Files: Fight Club (#7.20)" (2000)
- title reference/plot about people fighting with each other for no reason
Me, Myself & Irene (2000)
Snatch. (2000)
Memento (2000)
Citizen Toxie: The Toxic Avenger IV (2000)
- After Noxie ties Sarah up, he says "I want to have your abortion." A small tribute to a line that got cut from Fight Club (1999).
Little Nicky (2000)
- Open reference by a character
Automatic (2001)
Soberano, el rey canalla (2001)
- Ramón mentions having seen this movie the day before.
Donnie Darko (2001)
Experiment, Das (2001)
Murder on the Orient Express (2001) (TV)
- Explicit reference in dialogue.
"Undergrads: New Friends (#1.4)" (2001)
- Rocko tells Nitz he's started his own fight club after seeing the film 23 times.
Mulholland Dr. (2001)
Ye shou zhi tong (2001)
Swordfish (2001)
The Score (2001)
Chuen jik sat sau (2001)
Jay and Silent Bob Strike Back (2001)
"Yes, Dear: Baby Fight Club (#2.4)" (2001)
- title reference
K-PAX (2001)
Spy Game (2001)
"Spin City: Fight Flub (#6.10)" (2001)
- title reference
Ocean's Eleven (2001)
A Beautiful Mind (2001)
"Saturday Night Live: Britney Spears (#27.12)" (2002)
- Referenced on Weekend Update
Sorority Boys (2002)
The New Guy (2002)
Mulletville (2002)
WarCraft III: Reign of Chaos (2002) (VG)
The Secret Lives of Dentists (2002)
- Denis Leary's leather jacket & tinted glasses: very Tyler Durden
Analyze That (2002)
25th Hour (2002)
Deconstructing Precrime and Precogs (2002) (V)
- mentioned once
Daredevil (2003)
- Two characters mention the movie and quote from it. (Can be seen in the Director's cut version)
The Propeller Guy (2003)
- Quotes Fight Club
This Is Not a Film (2003)
- When they ask one of the guys why he goes to The Laughing Circle, he says , "It's like Fight Club, but in reverse."
Flight Club (2003) (TV)
- title reference
The Matrix Reloaded (2003)
Batoru rowaiaru II: Chinkonka (2003)
- The opening of the film has 7 cgi buildings crumble due to a terrorism. This is the same as the ending of 'Fight Club' in which the bank buildings in Delaware fall victim to the 'fight club' terrorists.
Finding Nemo (2003)
- In the whale "let go", like in fight club in the car or during the chemical burning.
"Futurama: Three Hundred Big Boys (#5.11)" (2003)
- Professor says, "Got to go, fight club!"
Haggard: The Movie (2003)
- A movie poster and a line which was a basis from the movie.
Star Wars: Knights of the Old Republic (2003) (VG)
- Outside the Sith Academy there are three hopefuls standing on the chance that they will be allowed to join the academy if they prove they are worthy by waiting there long enough. There is a sadistic student that told them they will be allowed in if they wait there long enough. This is a nod to the prospects that waited outside the house for days in order to join the Fight Club "operation".
Buffy the Vampire Slayer: Chaos Bleeds (2003) (VG)
- Poster seen in movie theater
The Making of 'Alien³' (2003) (V)
- Mention once
Big Fish (2003)
- Casting of Helena Bonham Carter, and line by one of the children, referring to soap being made from humans, as soap was made from human body fat in "Fight Club"
Kick Club (2004) (V)
- tries to copy "Fight Club"
Maquinista, El (2004)
- dialogue "no one ever died from insomnia", also the use of insomnia and the presence of the main character's doppleganger as an invention of their imagination
Twisted (2004/I)
- Use of cigarette burn as a reminder
The Legend of the Tamworth Two (2004) (TV)
- The clan of free pigs, called "Pig Club", has a similar set of rules to Fight Club.
"Saturday Night Live: Mary-Kate & Ashley Olsen/J-Kwon (#29.20)" (2004)
- Mentioned on Weekend Update
Saving 'Star Wars' (2004)
- Woody's number one rule, "Don't talk about Fight Club."
The Significance of Seventeen (2004)
- Fight Club is referenced in the film.
Nacht der lebenden Loser, Die (2004)
- Movie poster in Philip's room
Halo 2 (2004) (VG)
- Somewhere in the middle of Halo 2, there's a chapter titled "Fight Club."
World of Warcraft (2004) (VG)
- the game features a club weapon called "Fight Club"
Flight Club (2004) (V)
- on a poster for this movie, the alternate title "Flight Club" is written on a pink bar of soap
"Father of the Pride: Sarmoti Moves In (#1.10)" (2004)
- Snack says that when geckos get a few kamikazes in them they "go all 'Fight Club'".
Splinter Cell: Chaos Theory (2005) (VG)
- A character says "In Shetland we trust", a spoof of "In Tyler we trust" in Fight Club
"Navy NCIS: Naval Criminal Investigative Service: Red Cell (#2.20)" (2005)
- DiNozzo mentions that Red Cell is like Fight Club and the number 1 rule of Fight Club: don't talk about Fight Club
Feed (2005)
- a bag of human fat that someone is carrying breaks open
Mr. & Mrs. Smith (2005)
- Benjamin is wearing a Fight Club t-shirt in several scenes during the second half of the film.
Blow Me (2005)
- Character "Mr. Cornflowe"
Dirty Deeds (2005)
- There is a scene with JD and his friends, where they beat the crap out of each other, just for fun.
'Office Space': Out of the Office (2005) (V)
- mentioned once
American Wasteland (2005) (VG)
- "Skate Club" is a parody of Fight Club, with it's rules of "nobody can speak about it" and "no shoes, no shirt". a project mayhem-like anti-corporate-america group is also referred to.
Get Rich or Die Tryin' (2005)
- Uncle Duece has the poster of it on his wall.
Grandma's Boy (2006)
- "Why are you so sweaty?" "I started a fight club."
Fight Club: Members Only (2006)
- some guys start a fight club (by that name) in an basement/rules are given including rule #1: "there is no fight club" (basically the same meaning as "you do not talk about fight club")/there are also rules about two men to a fight, one fight at a time and if someone wants to quit, the fight is over
Fright Club (2006) (V)
- similar title/plot is about three young people who want to join a club
The Dialogue: An Interview with Screenwriter Jim Uhls (2006) (V)
- Uhls discusses writing the script
50 Films to See Before You Die (2006) (TV)
- Makes the countdown, is talked about.
Jin tian de yu zen me yang? (2006)
- Rao Hui has a poster for the film.
Bottoms Up (2006)
- character's nickname is "Man Tits"
"The O.C.: The Avengers (#4.1)" (2006)
- Seth mentions the film to Ryan after the bare knuckle fight.
"Bones: The Woman in the Sand (#2.8)" (2006)
- Booth: Haven't any of you people seen Fight Club?
Thr3e (2006)
- flashback realization
American Pie Presents: The Naked Mile (2006) (V)
- the phrase "bitch tits" is said
"Kim Possible: Ill Suited (#4.1)" (2007)
- When reminded that he was part of a group that flooded the school gym Ron parodies the famous quote saying: "The first rule of Chess Club is: Do not talk about chess club," while a techno score similar to that movie's score plays underneath.
Superbad (2007)
- The woman at the liquor store wants to become a veterinarian just like "Raymond K. Hessel", the clerk at a convenience store in Fight Club
"Psych: If You're So Smart, Then Why Are You Dead? (#2.7)" (2007)
- Shawn mentions it.
In Search of Steve Ditko (2007) (TV)
- Referenced by name
"Living with Fran: School Ties (#1.10)" (2007)
- Fran's sentence "First rule of Book Club: Do not talk about Book Club." reminds of Brad Pitt's movie Fight Club and the quote "The first rule of Fight Club is: you do not talk about Fight Club."
Nexus Generation: Fans & Filmmakers (2007) (V)
- mentioned once
I Am Legend (2007)
- DVD seen attached to the wall of Neville's weapons cabinet
Knuckle Draggers (2008)
- One of the main Characters "Kyle" talks about his favorite movies and names 300 and Fight Club.

Featured in

"Siskel & Ebert & the Movies: (1999-10-16)" (1999)
- Clips shown for the review.
Detroit (2003)
- Edited footage from "Fight Club" is shown in the TV-Set on the Hotel.
Postcards from the Future: The Chuck Palahniuk Documentary (2003)
Silný kafe (2004)
- At the beginning of the film, David is watching Fight Club
The Pervert's Guide to Cinema (2006)
- excerpt in movie
50 Films to See Before You Die (2006) (TV)
- Clips shown.
"20 to 1: 50 to 01: Great Movie One Liners (#4.10)" (2007)
- Some clips from this movie are shown in a segment on the line "The first rule of Fight Club is - you do not talk about Fight Club".
Drillbit Taylor (2008)
- The characters watch the film.

Spoofs

Evil Dead II (1987)
Forrest Gump (1994)
- Brad Pitt says at one moment "Run Forrest, run!"

Spoofed in

"Saturday Night Live: Jennifer Aniston/Sting (#25.6)" (1999)
- spoofed during the monologue
Film Club (2000)
Buena Vista Fight Club (2000)
Keeping the Faith (2000)
The Adventures of Rocky & Bullwinkle (2000)
Scary Movie (2000)
Hannibal (2001)
The Mexican (2001)
"Spaced: Mettle (#2.3)" (2001)
- Robot Club is a spoof of the Fight Club from this film, the rules of Fight Club are almost direct quotes too "The 1st rule is you do not talk about robot club, the 2nd rule is you do not talk about robot club".
The Holly Wood Project (2001)
- Shot for shot recreation of Fight Club trailer.
The Score (2001)
Zoolander (2001)
- The "walk-off" scene has been noted in the director commentary to be spoofing Fightclub
Out Cold (2001)
Dance Club (2002)
- Dance Club is a parody of Fight Club.
Old School (2003)
Finding Nemo (2003)
- The director actually calls Gill's escape plan his "Fight Club" escape plan in reference to the explination of how the narrator's condo blew being "shot" similarly to Gill explaining his plan
The Legend of the Tamworth Two (2004) (TV)
- "The first rule of Pig Club is you don't talk about Pig Club. The second rule of Pig Club is you don't talk about Pig Club."
Harold & Kumar Go to White Castle (2004)
- The scene where the racoon is in the car, it bites Harold, and then looks at him and shakes the blood onto him as is done in Fight Club.
Fable (2004) (VG)
- The towns have "Fight Club" rings, organized by an NPC called "Tyler."
The Helix... Loaded (2005)
- same characters
"Typisk norsk: (#3.1)" (2006)
- Scene in a basement where Sylfest Lomheim reads rules for the language fight.
"The King of Queens: Fight Schlub (#8.22)" (2006)
- The title of this episode is Fight Schlub.
Beerfest (2006)
- 1st and 2nd rule of beerfest line, imitating the "welcome to Fight Club" speech
School for Scoundrels (2006)
- Fight Club-type class with assignment to "initate confrontation" with random people (except these guys are wimps and most of them end up getting swirlies)
"Happy Tree Friends: Hear Today, Gone Tomorrow/Double Whammy/Autopsy Turvy (#1.13)" (2006)
- In 'Autopsy Turvy', when the good Flippy realizes the bad Flippy is in his head (flashbacks to him beating himself up)
"Screen Wars: Film Club (#2.8)" (2007)
- Opening Homage spoofed Fight Club
Drillbit Taylor (2008)
- Both before and after they watch the clip from Fight Club, characters hit each other the same way Edward Nortons character hits Tyler Durden in the scene shown, in the ear. For example, Filkins hits Drillbit Taylor in the ear many times
The Auteur (2008)
- features a lesbian porno called "Dyke Club"
Don't Let's Start (2009)
- parodies "rules of Fight Club" scene

Soundtracks for Fight Club

2008-07-26T10:29:00.000-07:00

"COFFEE STORE ZAK"
Composed by Rolfe Kent
Courtesy of Twentieth Century Fox Film Corporation
"GIRL FROM YPSILANTI"
Written and Performed by Daniel May
Courtesy of Marc Ferrari/MasterSource
"SVARGA"
Composed by Azam Ali, Greg Ellis
Performed by Vas
Courtesy of Narada Producations, Inc.
"CAFETERIA"
Written by Christian Poulet
Performed by Cezame Argile
Courtesy of Koka Media/Killer Tracks
"SMOKE STACK"
Written by Franki Hulme, Kenton Hulme, John Wolfenden and Melle Steagall
Performed by Junk Ferry
"EASY SMACK IT UP"
Written by M. Petrie and K. Moo
Performed by The Odditorium
Courtesy of Hi-Ho Records
"FORBIDDEN TO LOVE"
Music by Guy Moon
Lyric by Bob Garret
Arrangement by Jeff Haskett
Produced by Guy Moon
"SPLENDID & 4M15"
Composed by Kenneth 'Babyface' Edmonds
"GOIN' OUT WEST"
Written by Tom Waits, Kathleen Brennan
Performed by Tom Waits
Courtesy of Island Records, Inc.
Under License from Universal Music Special Markets
"Theme From 'VALLEY OF THE DOLLS'"
Words and Music by Dory and André Previn
"NO LOVE, NO NOTHIN'"
Music by Harry Warren
Lyrics by Leo Robin
Performed by Marlene Dietrich
Courtesy of Columbia Records for the U.S. and Canada
M. Dietrich Inc for the rest of the Universe
"KDFW News Theme"
Composed by Stephen Arnold
"TZIGANY WALTZ"
Written by George Fenton and John Leach
Courtesy of Associated Production Music
"WHERE IS MY MIND"
Written by Frank Black
Performed by The Pixies
Courtesy of Elektra Entertainment Group/4AD
By Arrangement with Warner Special Products

Spoiler For Fight Club

2008-07-26T10:27:00.000-07:00

SPOILER: The zip code on Richard Chesler's (The Narrator's boss) business card is 198090 (shown briefly in the scene where The Narrator beats himself up in his boss's office). In the shot where we see Tyler Durden's business card (just before The Narrator calls him), The Narrator's thumb could possibly be hiding the 6th digit. All we are able to see is 19808... then it's all thumb.
SPOILER: Tyler appears in the film at least five times before the Narrator glimpses him on the moving walkway in the airport. In the four appearances, Tyler flashes on screen for just an instant and is only visible when the Narrator has insomnia:
- At the photocopier at work;
- In the doctor's office, when the Narrator is learning about the testicular cancer support group;
- At that group's meeting;
- As the Narrator sees Marla leaving a meeting but doesn't follow her.
- Tyler shows up as a waiter in the presentation video of a hotel
- Tyler is on the opposite moving walkway in the airport when The Narrator says "if you wake up in a different place, at a different time, do you wake up a different person?"
SPOILER: At the airport, the Narrator says "Could you wake up as a different person?" and the camera follows Tyler.
SPOILER: When Tyler and the Narrator are fighting and gather a crowd, no one intervenes, but instead look rather bemused.
SPOILER: When the Narrator is traveling in the beginning of the film, he throws a mint candy into the air and catches it in his mouth. The television then shows a group of waiters that shout "Welcome." Tyler Durden is one of the waiters in the front row.
SPOILER: Everything Tyler says to the Narrator when he receives a phone call from the arson police investigator is true.
SPOILER: When Tyler tells the Narrator that he is leaving, the Narrator has a bruise on his head. When the Narrator wakes up "the next morning" the bruise is gone, obviously indicating that it has been some time that he's been asleep (in actuality he wasn't asleep but went all over the country as Tyler setting up the fight clubs.)
SPOILER: The Narrator wanders the house while Tyler and Marla noisily have sex upstairs. When the detective calls and the Narrator answers the phone, the sounds of the lovemaking instantly stop.
SPOILER: On the airplane the Narrator mentions that they have the exact same briefcase. And although Tyler opens his, we never see the contents of the Narrator's.
SPOILER: When entering Lou's Tavern, the Narrator enters first and the guy out the front only acknowledges the Narrator, as though Tyler doesn't even exist.
SPOILER: When going to the convenience store where Raymond K. Hessel works, Tyler gets the gun out of the Narrator's bag. The Narrator obviously didn't know the gun was there, indicated by his astonishment "Is that a gun?", despite the fact that it's his backpack.
SPOILER: When Lou sees the Fight Club members in the basement of his restaurant, Lou punches Tyler in the stomach. When Tyler gets punched, you can see the Narrator double over slightly as if he too was punched in the stomach.
SPOILER: At the end of the movie, immediately before the credits, single frame picture of a penis flashes on the screen. This is what Tyler did during his job as a projectionist.
SPOILER: When Tyler and the Narrator hit the first car with baseball bats, Tyler hit first, but the alarm is triggered only after the narrator hits.
SPOILER: Chuck Palahniuk revealed that when he wrote the book, he did not actually know that Tyler and the Narrator (or Joe in the book) were the same person until he was two thirds of the way through writing the story. He noticed that they acted together as one person and chose to finish the story as such.
SPOILER: In the car scene where Tyler tells Jack to "Just let go!" Tyler is driving, yet Jack gets out of the driver's side door after the crash. This, in fact, was unintentional, and while looking at the dailies Fincher chose to keep it.
SPOILER: For a brief moment in the beginning of the film, the Narrator can be seen as Tyler's reflection in the window.
SPOILER: Early on, we see the Narrator getting off a bus with one of the Project Mayhem folders.
SPOILER: When the airport employee "lends" Tyler the car, the Narrator and Tyler get in through the same door. After the crash where Tyler was driving, Tyler pulls the Narrator out of the driver's side of the car.
SPOILER: When the airport valet lends Tyler and the narrator the car, while addressing "Mr. Durden" he is looking straight at the Narrator.
SPOILER: At the payphone when the Narrator gets a phone call from Tyler, the sign on the payphone reads: "No Incoming Calls Allowed".
SPOILER: When the Narrator enters the house prior to seeing the news report of the happy face on the building, he is carrying one of Project Mayhem's folders.
SPOILER: When the Narrator returns to the Paper Street house after Project Mayhem sets fire to the building and paints the smiley face, you can see green paint on the Narrator's hands and sleeves.
SPOILER: When the narrator gets on the bus with Tyler, he only pays the fare for one person.
SPOILER: When Tyler and the Narrator are on the bus, the long-haired guy pushes past Tyler without a word, then says "excuse me" as he pushes past the Narrator.
SPOILER: The buildings that blow up in the end are all Fox-owned buildings digitally composited into the shot. It was feared that they would invite legal action against the production if they portrayed real credit card companies blowing up.

Trivia for Fight Club

2008-07-26T10:24:00.000-07:00

Director David Fincher shot over 1,500 reels of film, more than three times the normal amount
Brad Pitt's character was originally going to recite a workable recipe for home-made explosives. In the interest of public safety, the filmmakers decided to substitute fictional, dud recipes for the real ones.
Author Chuck Palahniuk actually found the modified ending in the film to be better than the one he had written in the novel.

Although he refused to smoke in Rounders (1998) (his character played poker for cigarettes, but did not smoke), Edward Norton did smoke in this film.
During an exterior shot in an urban residential area, a man in one of the apartments above the working film crew got annoyed with the noise and threw a 40 oz. beer bottle at them. The bottle hit director of photography Jeff Cronenweth who was not seriously injured; the man was arrested shortly afterward.
The reverse-tracking shot out of the trash can, an elaborate digitally animated sequence, was the very last shot to be added to the film - as almost an afterthought by the director. It required so much processing time that it almost had to be spliced in "wet" - i.e., fresh from the lab - so that the film could be duplicated on schedule.
In the short scene when Brad Pitt and Edward Norton are drunk and hitting golf balls, they really are drunk, and the golf balls are sailing directly into the side of the catering truck.
During rehearsals Brad Pitt and Edward Norton found out that they both hated the new Volkswagen Beetle with a passion. In the film they are seen banging a Volkswagen Beetle with baseball bats. However, Pitt is quoted on the DVD commentary as saying he had a change of heart about the new VW Beetle.
One of Project Mayhem's acts of vandalism is the destruction of a display of Apple Macintosh computers. The explosion occurs at exactly 84 minutes into the film, an ironic reference to Apple's famous tribute to George Orwell's "Nineteen Eighty-Four" when they debuted the Macintosh during the 1984 Super Bowl.
The brown station wagon against which Edward Norton falls in his first fight with Brad Pitt is the same brown station wagon used in The Game (1997), in which Michael Douglas hid while James Rebhorn drove him to CRS headquarters. The car has a CRS sticker on the windshield.
Three detectives in the film are named Detective Andrew, Detective Kevin, and Detective Walker. Andrew Kevin Walker was the writer of the David Fincher film Se7en (1995) (Also starring Brad Pitt), and did some uncredited work on this movie's script.
As Tyler jumps into the red convertible outside of the airport a man can be heard yelling, 'Hey, that's my car.'
In Tyler Durden's house there is a Movieline magazine cover featuring 'Drew Barrymore' , a close friend of Edward Norton.
While Edward Norton is trying to convince Helena Bonham Carter to leave the city by bus, the crew arranged cinema signs to make references to other films the cast had been in, although only one is visible during the actual scene. Seven Years in Tibet (1997) (starring Brad Pitt) is visible, although the sign letters actually say "Seven Year In Tibe" as if the theatre didn't have the required letters. Other marquees (in the far background, and not visible) reportedly said The People vs. Larry Flynt (1996) (starring Norton) and The Wings of the Dove (1997) (starring Carter).
The telephone number of the Paper Street Soap Company (as printed on the phone the Narrator uses to call the "1888" office building near the end of the movie) is (288) 555-1534. The Paper Street Soap Company's phone number as listed on Tyler's business card is (288) 555-0153. The narrator's boss' business card shows a phone number of (288) 555-0138. At the time of the film's release, area code 288 was "reserved for future use".
The "filing cabinet" apartment block that the Narrator lives in is called "Pierson Towers", and the motto is "a place to be somebody" which is the city motto for Wilmington, Delaware.
There really is a Paper Street in Wilmington, Delaware, but there's no street number 1537 (the numbers on that street don't go that high).
The typeface used for the titles and logo is named "Big Science".
Some of fake names used by the narrator in the self-help groups are names of characters in Planet of the Apes (1968), as well as classic roles played by Robert De Niro.
Director of Photography Jeff Cronenweth's sister, Christie Cronenweth has a cameo in the film as the airline check-in attendant.
Cameo: [Kevin Scott Mack] Visual effects supervisor is one of the terrified passengers of the plummeting jet.
Cameo: [Edward Kowalczyk] Member of the band Live plays the waiter who serves the Narrator and Marla with the line, "Sir, anything you want is free of charge, sir."
In the press packages released for the movie, which came in the form of Ikea-esque catalogues, Edward Norton's character is referred to as "Jack".
The only remaining pink and white giant "fat soap" prop (appox. 12" x 10") featured in the movie can be seen briefly but clearly behind the character Warren Henley in a scene in the film Automatic (2001) as a framed piece of art.
In the closed captioning, whenever the Narrator speaks and is not seen, the closed caption begins with "Rupert:"
The original "pillow talk"-scene had Marla saying "I want to have your abortion". When this was objected, it was exchanged for what we see now: "I haven't been fucked like that since grade school". When those who had protested saw this they were even more outraged and wanted the original line back, but director David Fincher decided to keep the new line.
The movie's line "The first rule of Fight Club is you don't talk about Fight Club" was #27 of "The 100 Greatest Movie Lines" by Premiere in 2007.
The infamous 'soap slam on dish' shot required 41 takes. After the 40th take, director David Fincher realized that the actual soap was sliding out of frame and settled for a fake soap prop.
Starbucks pulled their name from the coffee shop destruction scene. They didn't mind the director placing their product throughout the film, but did not want their name to be destroyed in that scene. Therefore, when the gold globe crashes into the coffee shop, there is no company name shown on film.
Edward Norton lost 17-20 pounds for this role after having to beef up tremendously for his role as a Neo-Nazi skinhead in "American History X." Norton achieved this form by running, taking vitamins and just ignoring the on-set catering.
Chuck Palahniuk came up with the character of Tyler Durden years before he ever wrote his book. He got the idea after an encounter with a real life person named Tyler Lovelly whom he was seated next to on a plane.
Fox originally wanted someone with a name to play Marla after they decided not to go with Helena Bonham Carter. The only other name thrown in was Reese Witherspoon. But Fincher, Witherspoon, and the studio declined saying that she was too young, and Witherspoon said it was just too dark.
David Fincher took 12 takes of the stuntman rolling down the stairs when the narrator gets thrown down the stone steps in the parking lot by Tyler in their final fight, but the shot used in the movie is the very first take.
The name Tyler Durden comes from Toby Tyler, or Ten Weeks with a Circus (1960) and a former coworker of Palahniuk's who left under a sexual harassment cloud.
Chuck Palahniuk came up with the story after getting beaten up on a camping trip by some people who'd refused to turn down their loud radio in a neighboring campsite.
David Fincher had to receive separate funding for the complex "Fear Center" title sequence. In the DVD commentary, Fincher remarks that the studio told him "if the movie's good" they would allow him to do the very expensive introduction.
Edward Norton's apartment building, Pearson Towers, which he returns to at the beginning of the film to find his possessions strewn all over the sidewalk is actually Promenade Towers located at 123 South Figueroa in downtown Los Angeles. The apartment building's slogan in the movie is "A Place to be Somebody" while the actual apartment building's slogan is "A City in a City".
Marla Singer's phone number, 555-0134, is the same as Teddy's number in Memento (2000). It is also the same as the Hong Kong Restaurant in Harriet the Spy (1996), Eddie Alden's in Someone Like You... (2001) and a Mental institution in an episode of "Millennium" (1996/I).
After the copyright warning, there is another warning on the DVD. This warning is from Tyler Durden, and is only there for a second. "If you are reading this then this warning is for you. Every word you read of this is useless fine print is another second off your life. Don't you have other things to do? Is your life so empty that you honestly can't think of a better way to spend these moments? Or are you so impressed with authority that you give respect and credence to all who claim it? Do you read everything you're supposed to read? Do you think everything you're supposed to think? Buy what you're told you should want? Get out of your apartment. Meet a member of the opposite sex. Stop the excessive shopping and masturbation. Quit your job. Start a fight. Prove you're alive. If you don't claim your humanity you will become a statistic. You have been warned... Tyler"
David Fincher claimed in an interview in UK film magazine Empire, that there is a Starbucks coffee cup visible in every shot in the movie (see also The Game (1997)) .
When a Fight Club member sprays the priest with a hose, the camera briefly shakes. This happens because the cameraman couldn't keep himself from laughing.
The workprint for this film ran about 153 minutes.
When the Narrator is writing haiku poems at work and sending them to coworkers, the names on the email list include those of Production Assistants and other crew members.
The Narrator works at Federated Motor Corporation, in the Compliance and Liability division. FMC is located at 39210 North Pennfield Boulevard in Bradford (the state is not specified). His Manager's phone number is (288) 555-0138, and his fax number is (288) 555-0149, both non-existant area codes.
Helena Bonham Carter wore platform shoes to help close up the disparity in height between her and Edward Norton and Brad Pitt.
Brad Pitt and Helena Bonham Carter's sex scene is largely computer generated.
Brad Pitt and Edward Norton actually learned how to make soap.
In an early version of the script the Narrator confirms that he lives in Wilmington, Delaware.
Courtney Love and Winona Ryder were also considered for the role of Marla Singer.
The term 'Paper Street' refers to a road or street that has been planned by city engineers but has yet to be constructed. A paper street is sometimes published in common street directories by accident, but does not yet exist.
Voted #4 in Total Film's 100 Greatest Movies Of All Time list (November 2005).
The burnt out car that Edward Norton's character is examining is a Lincoln Town Car.
Near the beginning of the film, a poster for the band 311 can be seen behind The Narrator's head, in the pawn shop scene with Marla.
Marla Singer (Helena Bonham Carter) says she goes to support groups because "It's cheaper than a movie, and there's free coffee". In Margaret's Museum (1995) (starring Helena Bonham Carter), Kate Nelligan says she goes to funerals because it's cheaper than bingo, and there's free food.

Fight Club enlightens us

2008-07-26T10:22:00.000-07:00

"Fight Club" an aggressive, confrontational, often brutal satire that is quite possibly a brilliant masterpiece. Taking the "Choose life," anti-consumerism rant at the beginning of "Trainspotting," and carrying it to its logical -- albeit extreme -- conclusion this is a big budget, mainstream film that takes a lot of risks by biting the hand that feeds it. The film's narrator (Edward Norton) is an insignificant cog in the drab, corporate machine, dutifully doing his job and what he's told without question. He's an insomniac slave to his IKEA possessions and only finds joy in going to as many self-help/dealing with terminal diseases sessions as he can. It provides him with an escape from his sleepless nights. That is, until Marla Singer (Helena Bonham Carter), a trashy chain-smoking poser, enters his life and upsets his routine. The narrator also meets Tyler Durden (Brad Pitt), a charismatic soap salesman whose straightforward honesty, candor and sleazy lounge-lizard outfits are a breath of fresh air. One night, after the two men have bonded over beers, Tyler asks the narrator to hit him. At first, it seems like an absurd request but after they pound on each other for a bit, a strange feeling overcomes them. They feel a kind of release and satisfaction at inflicting pain on one another. In a world where people are desensitized to everything around them, the physical contact of fighting wakes them up and makes them feel truly alive. Others soon join in and pretty soon Fight Club becomes an underground sensation. However, it becomes readily apparent that Tyler has more elaborate plans than just organizing brawls at the local bar. David Fincher has taken the dark, pessimistic worldview of "Seven" and married it with the clever plot twists and turns of "The Game" and assembled his strongest effort to date. "Fight Club" is a $50+ million studio film that remains true to its anti-consumer, anti-society, anti-everything message -- right up to the last, sneaky subliminal frame. What makes "Fight Club" a subversive delight is not only its refreshing anti-corporate message but how it delivers said message. As Fincher has explained in interviews, you don't really watch the film but rather download it. Its structure is extremely playful as it messes around with linear time to an incredible degree. The narrative bounces back and forth all over the place like a novel, or surfing on the Internet -- even making a hilarious dead stop to draw attention to itself in a funny, interesting way that completely works. Yet Norton's deadpanned narration holds everything together and allows the viewer to get a handle on what's happening. This is the way films should be made. Why must we always have to go through the A+B+C formula? "Fight Club" openly rejects this tired, clearly outdated structure in favour of a stylized frenzy of jump cuts, freeze frames, slow motion and every other film technique in the book that only reinforces its anarchistic message. A film like this would have never been greenlighted by a major studio if Brad Pitt had not been attached to the project. Once you see the film, it becomes obvious that he was the only choice for Tyler Durden. Like he did with "Kalifornia" and "Twelve Monkeys", Pitt grunges himself down and disappears completely into his role to a frighteningly convincing degree. During many of the brutal fight scenes, he is transformed into a bloody, pulpy mess that'll surely have the "Legends of the Fall" fans running for the exits. It is an incredible performance -- probably his best -- for the simple fact that he becomes the character so completely. If Pitt has the flashy, gonzo role, Edward Norton is his perfect foil as the seemingly meek yet sardonic narrator. It's a deceptively understated performance as the last third of the film reveals but Norton nails it perfectly. He is clearly our surrogate, our introduction into this strange world and his wry observations on our consumer-obsessed culture are right on the money. They are the perfect setup for Tyler's introduction and his view on the world which is clearly a call to arms of sorts, a manifesto that rejects the notion that we are what we own. And ultimately, that is what "Fight Club" tries to do. The film is a cinematic punch to the head as it challenges the status quo and offers a wakeup call to people immersed in a materialistic world where those who have the most stuff, "win." I think that Fincher's film wants us to tear all that down, reject corporate monsters like Starbucks and Blockbuster, and try to figure out what we really want out of life. It's almost as if the film is suggesting salvation through self-destruction. And it is these thought-provoking ideas that makes "Fight Club" a dangerously brilliant film that entertains as well as enlightens.

Fight Club nedir?

2008-07-26T10:19:00.000-07:00

tüm zamanların en popüler olmuş anti-kapitalist ütopayasının adıdır.
aslında fight club; hayatlarımızdaki hedefleri, ulaşmamız gereken maaş miktarını belirleyen, nasıl görünmemiz gerektiğine karar veren, bizi sağan, tekdüzeleştiren, aynı boş ve saçma amaçlar peşinde koşturan, benliğmizi kontrol altına alan, bize sahip olduğumuz gücü unutturan kapitalizm mikrobuna karşı bir savaşın kalbidir. tyler durden ın kuruculuğunu üstlenmiş olduğu bu yeraltı tarikatı benliğimizdeki gücü bizi dövüştürerek fark ettirir. bu açığa çıkarılmış güç sayesinde mikroba karşı direnç kazanılır ve küçük anarşistlikler ile yeraltına daha fazla insan çekilmeye çalışılır. ilginç olan ise herkesin tarikatın ilk kuralını ihlal ederek tarikata kayıt olmasıdır.

bu kayıt olmuş yığınlar ilk gecelerinde değersiz oldukları kulaklarına fısıldanarak eğitilmeye başlanırlar. bundan sonra maymun gözünü açar; ve anneleri tarafından tapınılacak güç eksikliği ile yetiştirilmiş olan amerikan çocukları peygamberleri tyler durden önderliğinde kurulmuş olan tarikat ciddi işler yapmaya başlar.bu ciddi işler sistemin candamırlarını kesmeye ve kargaşa yaratmaya yönelik olan bombalama, adam kaçırma vb faaliyetlerdir. ve sistem kalbinden vurulmaya başlanır; kredi kartları databaseleri havaya uçurulur, amerikayı ve birçok ulusu sağan holdinglerin merkezleri yok edilir ve bu şirketlerin sembolleri ile dalga geçilir. ve insanlar gün geçtikçe karmaşa içerisinde daha da özgürleşirler.

dikkat edimesi gereken nokta ise fight club bir masal değil bir ütopyadır; yani mantıksaldır. bu mantık içerisinde kargaşayı önleyecek olan güvenlik güçleri ise çoktandır tarikata katılmışlar ve ilk dövüşlerini yapmışlardır bile. bu ütopyanın en ironik yanı ise fight clubın kargaşa yaratan faaliyetlerini finansa etmek için sistemin en gereksiz para harcayan kesiminin yağları ile yapılan sabunların tekrar bu insanlara satılıyor olmasıdır.

başarılı olmaya aday her ütopya gibi bu ütopya da zamandan münezzehtir; yani yeri geldiğinde kendi kendini yok etme riskini göze almışıtır. zira kitabın sonunda peygamber durden ölür ve öbür dünyaya gider. burda beni en çok güldüren ve düşündüren olay ise öbür dünyadaki meleklerin de durden in izinde olduklarını belirtmeleridir. burada hem öbür dünya inancıyla dalga geçilmektedir hem de herkesin dünya üzerinde kuracağı cenneti ebedi hayatta da yaşatabileceğine dair bir gönderme vardır.