All That Jazz

All That Jazz (1979)


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Joe Gideon: Sometimes I don't know where the bullshit ends and the truth begins.

Joe Gideon: Do you suppose Stanley Kubrick ever gets depressed?

Joe Gideon: I always look for the worst in other people.
Angelique: A little of yourself in them?
Joe Gideon: A little of myself. And generally, I find it.

Victoria: Well, you're right. I'm terrible. I know I'm terrible. I look at the mirror and I'm ashamed. Maybe I should quit. I just can't seem to do anything right.
Joe Gideon: Listen. I can't make you a great dancer. I don't even know if I can make you a good dancer. But, if you keep trying and don't quit, I know I can make you a better dancer. I'd like very much to do that. Stay?
Victoria: Are you going to keep yelling at me?
Joe Gideon: Probably.

Joe Gideon: No, nothing I ever do is good enough. Not beautiful enough, it's not funny enough, it's not deep enough, it's not anything enough. Now, when I see a rose, that's perfect. I mean, that's perfect. I want to look up to God and say, "How the hell did you do that? And why the hell can't I do that?"
Angelique: Now that's probably one of your better con lines.
Joe Gideon: Yeah, it is. But that doesn't mean I don't mean it.

Assistant Insurance Man: You could be the first show on Broadway to make a profit... without ever really opening.

Michelle Gideon: It's just that I keep wondering, Dad. Why don't you get married again?
Joe Gideon: I don't get married again because I can't find anyone I dislike enough to inflict that kind of torture on.

O'Connor Flood: Give it to me! Bye Bye Life, Bye Bye happiness, Hello loneliness, I think he's gonna die. Gonna die. Bye Bye Life, Bye Bye happiness, Hello emptiness, I think he's gonna die. Gonna die. La, la, la, la, la, la, la, la. Goodbye your life, Goodbye.

Dancer Backstage: Fuck him! He never picks me.
Dancer Backstage: Honey, I did fuck him and he never picks me either.

Continuity mistake: In the scene where Joe Gideon is helping his daughter with dance exercises and realises that it is time to put Michelle in a cab, he carries her out of the rehearsal studio with her facing forward and her legs wrapped around his back. They turn a corner to go outside and she magically is facing him arms around his neck and legs wrapped the other way around his waist. Also Michelle suddenly grows a yellow rain jacket. There is no time lapse in the dialog which would explain this turn.

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Trivia: Many of the characters in the film are based on real-life characters from the New York theater world.


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