Labyrinth Quotes
The ‘Labyrinth’ is a musical fantasy film based on an adventure, released in ’86.
Jim Henson directed the film. It revolves around the story of a girl named Sarah Williams who is on a journey to reach the center of a Labyrinth to find her baby brother Toby.
David Bowie has done a stupendous job, playing Jareth’s character, the Goblin King, who is the main antagonist against Sarah, played by Jennifer Connelly, the protagonist. The movie is filled with a bunch of amazing David Bowie quotes, Labyrinth Jareth quotes like,”Everything. Everything I’ve done, I’ve done for you. I move the stars for no one”, or ‘Labyrinth’ quotes from Sarah like, “I can bear it no longer! Goblin King! Wherever you may be, take this child of mine far away from me!”, shows how the whole tale started in the first place.
Popular ‘Labyrinth’ Goblin King Quotes
Bowie aced the role of Jareth as a goblin king and his magic dance. Each one of these quotes will prove as to why!
1. “If I thought that for one second that you would betray me, I would be forced to suspend you, head first, in the Bog of Eternal Stench.”
– Jareth.
2. “It’s only forever, not long at all.”
– Goblin King.
3. “I ask for so little. Just fear me. Love me. Do as I say, and I shall be your slave.”
– Goblin King.
4. “Live without your sunlight, love without your heartbeat.”
– Goblin King.
5. “It’s a crystal…nothing more. But if you turn it this way and look into it, it will show you your dreams. But this is not a gift for an ordinary girl who takes care of a screaming baby.”
– Goblin King.
6. “Daddy, daddy, get me out of here. I, I’m underground…”
– Goblin King.
7. “So, the Labyrinth is a piece of cake, is it? Well, let’s see how you deal with this little slice…”
– Goblin King.
8. “I have reordered time. I have turned the world upside down…”
– Goblin King.
9. “Oh, come, come, come, Hogbrain! I’m surprised at you, losing your head over a girl.”
– Goblin King.
‘Labyrinth’ Movie Quotes To Remember By Sarah
Cast your eyes on these super memorable quotes from ‘Labyrinth’.
10. “Give me the child.”
– Sarah Williams.
11. “I need you, Hoggle. I don’t know why, but every now and again, for no reason at all, I need you, all of you.”
– Sarah Williams.
12. “Through dangers untold. And hardships unnumbered. I have fought my way here to the castle; beyond the goblin city, to take back the child that you have stolen. My will is as strong as yours, and my kingdom as great…”
– Sarah Williams.
13. “Say your right words, ‘the goblins’ said, and we’ll take the baby to the castle, and you will be free!”
– Sarah Williams.
14. “How can I trust you now that you know you were taking me back to the beginning of the labyrinth?”
– Sarah Williams.
‘Labyrinth’ Quotes By Different Characters
Jim Henson is a puppeteer and actor who portrayed the other characters in the best possible way and these quotation by them are quite awesome!
16. “Sarah: It’s not fair…
Jareth: You say that so often, I wonder what your basis for comparison is?”
– The ‘Labyrinth’.
17. “Jareth: You remind me of the babe.
Goblin: What babe?
Jareth: The babe with the power.
Goblin: What power?
Jareth: The power of voodoo.”
– The ‘Labyrinth’.
18. “Didymus: I have sworn with my life’s blood, none shall pass this way without my permission!
Sarah: Well… May we have your permission?
Didymus: Well I, uh… I… that is, hm… Yes?”
– The ‘Labyrinth’.
19. “Hoggle: You have to understand my position. I’m a coward. And Jareth scares me.
Sarah: What kind of a position is that?
Hoggle: No position! That’s my point.”
– The ‘Labyrinth’.
21. “Sarah: Sir Didymus, you’ll wake the guards!
Didymus: Well, let them all wake up!”
– The ‘Labyrinth’.
22. “Sarah: Help! Stop it! Help!
Hands 1: What do you mean ‘help’? We’re helping hands.”
– The ‘Labyrinth’.
23. “Jareth: And Hoggle, if she ever kisses you, I’ll turn you into a prince.
Hoggle: Y-you will?
Jareth: Prince of the land of the stench!”
– The ‘Labyrinth’.
24. “Put that magic jump on me. Slap that baby, make him free.”
– The ‘Labyrinth’.
25. “It’s so stimulating being your hat.”
– The Hat.
Labyrinth Quotes
― Looking for Alaska
“Um, okay. So what is it?”
“Suffering,” she said. “Doing wrong and having wrong things happen to you. That’s the problem. Bolivar was talking about the pain, not about the living or dying. How do you get out of the labyrinth of suffering?… Nothing’s wrong. But there’s always suffering, Pudge. Homework or malaria or having a boyfriend who lives far away when there’s a good-looking boy lying next to you. Suffering is universal. It’s the one thing Buddhists, Christians, and Muslims are all worried about.”
― Looking for Alaska
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And then i screwed up and the Colonel screwed up and Takumi screwed up and she slipped through our fingers. And there’s no sugar-coating it: She deserved better friends.
When she fucked up, all those years ago, just a little girl terrified. into paralysis, she collapsed into the enigma of herself. And I could have done that, but I saw where it led for her. So I still believe in the Great Perhaps, and I can believe in it spite of having lost her.
Beacause I will forget her, yes. That which came together will fall apart imperceptibly slowly, and I will forget, but she will forgive my forgetting, just as I forgive her for forgetting me and the Colonel and everyone but herself and her mom in those last moments she spent as a person. I know that she forgives me for being dumb and sacred and doing the dumb and scared thing. I know she forgives me, just as her mother forgives her. And here’s how I know:
I thought at first she was just dead. Just darkness. Just a body being eaten by bugs. I thought about her a lot like that, as something’s meal. What was her-green eyes, half a smirk, the soft curves of her legs-would soon be nothing, just the bones I never saw. I thought about the slow process of becoming bone and then fossil and then coal that will, in millions of years, be mined by humans of the future, and how they would their homes with her, and then she would be smoke billowing out of a smokestack, coating the atmosphere.
I still think that, sometimes. I still think that, sometimes, think that maybe “the afterlife” is just something we made up to ease the pain of loss, to make our time in the labyrinth bearable. Maybe she was just a matter, and matter gets recycled.
But ultimately I do not believe that she was only matter. The rest of her must be recycled, too. I believe now that we are greater than the sum of our parts. If you take Alaska’s genetic code and you add her life experiences and the relationships she had with people, and then you take the size and shape of her body, you do not get her. There is something else entirety. There is a part of her knowable parts. And that parts has to go somewhere, because it cannot be destroyed. Although no one will ever accuse me of being much of a science student, One thing I learned from science classes is that energy is never created and never destroyed.
And if Alaska took her own life, that is the hope I wish I could have given her. Forgetting her mother, failing her mother and her friends and herself -those are awful things, but she did not need to fold into herself and self-destruct. Those awful things are survivable because we are as indestructible as we believe ourselves to be.
When adults say “Teenagers think they are invincible” with that sly, stupid smile on their faces, they don’t know how right they are. We need never be hopeless, because we can never be irreparably broken. We think that we are invincible because we are.
We cannot be born, and we cannot die. Like all energy, we can only change shapes and sizes manifestations. They forget that when they get old. They get scared of losing and failing. But that part of us greater than the sum of our parts cannot begin and cannot end, and so it cannot fail.
So I know she forgives me, just as I forgive her. Thomas Eidson’s last words were: “It’s very beautiful over there.” I don’t know where there is, but I believe it’s somewhere, and I hope it’s beautiful.”
― Looking for Alaska
― Dance Dance Dance
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― Wanderlust: A History of Walking
I am so happy in the silky damp dark of the labyrinth and there is no thread”
― The Book of Promethea
You have no power over me”
―
― The Girl Who Fell Beneath Fairyland and Led the Revels There
― This Side of Paradise
Jareth: You say that so often, I wonder what your basis for comparison is?”
―
‘I’m going to leave that up for the rest of the semester,’ he said.
‘Because everybody who has ever lost their way in life has felt the nagging insistence of that question. At some point we all look up and realize we are lost in a maze, and I don’t want us to forget Alaska, and I don’t want to forget that even when the material we study seems boring, we’re trying to understand how people have answered that question and the questions each of you posed in your papers–how different traditions have come to terms with what Chip, in his final, called ‘people’s rotten lots in life.”
― Looking for Alaska
― Quicksilver
Or, at least not yet again.
As a creature of free will, do not be tempted into futility.”
― The Perpetual Calendar of Inspiration
The Universe is a labyrinth made of labyrinths. Each leads to another. And wherever we cannot go ourselves, we reach with mathematics. Out of mathematics we build wagons to carry us into the nonhuman realms of the world.”
― Fiasco
“The other is the composition of the continuum, or: what is space?”
― Quicksilver
― Labyrinth Musical Score
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― The Picture of Dorian Gray
― Frankissstein: A Love Story
and each one fights against “his own”.
Make sure you don’t get lost by your own choices.”
―
Of your words
I’m trying to spot
The truth
Of your emotions”
―
and each one fights against “his own”.
Make sure you don’t get lost by your own choices.”
―
This reversal does in fact occur in the Venice scenario. The man comes towards her and asks her: ‘What do you want?’ She wants nothing. No mystery story, no love story. This answer is intolerable, and implies possible murder, possible death. Radical otherness always embodies the risk of death.
S.’s anxiety revolves entirely around this violent revelation: the possibility of getting herself unmasked – the very thing she is trying to avoid. ‘I cannot go on following him. He must be uneasy, he must be wondering if I am here, behind him – surely he is thinking about me now – so I shall have to keep track of him in some other way.’
S. could have met this man, seen him, spoken to him. But in that case she would never have produced this secret form of the existence of the Other. The Other is the one whose destiny one becomes, not by making his acquaintance in difference and dialogue but by entering into him as into something secret, something forever separate. Not by engaging in a conversation with him as interlocutor, but by entering into him as his shadow, as his double, as his image, by embracing the Other the better to wipe out his tracks, the better to strip him of his shadow. The Other is never the one with whom we communicate: he is the one whom we follow – and who follows us.
The other is never naturally the other: the other must be rendered other by being seduced, by being made alien to himself, even by being destroyed – if there is no alternative (but in fact there are subtler ways of achieving this end).”
― The Transparency of Evil: Essays in Extreme Phenomena
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― Red Ultramarine
― Looking for Alaska
Pressure Points. Koester ran towards the road as the helicopter roared overhead, its fans churning up a storm of pine needles and cigarette cartons. He shouted at Catherine Austin, who was squatting on the nylon blanket, steering her body stocking around her waist. Two hundred yards beyond the pines was the perimeter fence. She followed Koester along the verge, the pressure of his hands and loins still marking her body. These zones formed an inventory as sterile as the items in Talbert’s kit. With a smile she watched Koester trip clumsily over a discarded tyre. This unattractive and obsessed young man – why had she made love to him? Perhaps, like Koester, she was merely a vector in Talbert’s dreams.
Central Casting. Dr Nathan edged unsteadily along the catwalk, waiting until Webster had reached the next section. He looked down at the huge geometric structure that occupied the central lot of the studio, now serving as the labyrinth in an elegant film version of The Minotaur . In a sequel to Faustus and The Shrew , the film actress and her husband would play Ariadne and Theseus. In a remarkable way the structure resembled her body, an exact formalization of each curve and cleavage. Indeed, the technicians
had already christened it ‘Elizabeth’. He steadied himself on the wooden rail as the helicopter appeared above the pines and sped towards them. So the Daedalus in this neural drama had at last arrived.
An Unpleasant Orifice. Shielding his eyes, Webster pushed through the camera crew. He stared up at the young woman standing on the roof of the maze, helplessly trying to hide her naked body behind her slim hands. Eyeing her pleasantly, Webster debated whether to climb on to the structure, but the chances of breaking a leg and falling into some unpleasant orifice seemed too great. He stood back as a bearded young man with a tight mouth and eyes ran forwards. Meanwhile Talbert strolled in the centre of the maze, oblivious of the crowd below, calmly waiting to see if the young woman could break the code of this immense body. All too clearly there had been a serious piece of miscasting.
‘Alternate’ Death. The helicopter was burning briskly. As the fuel tank exploded, Dr Nathan stumbled across the cables. The aircraft had fallen on to the edge of the maze, crushing one of the cameras. A cascade of foam poured over the heads of the retreating technicians, boiling on the hot concrete around the helicopter. The body of the young woman lay beside the controls like a figure in a tableau sculpture, the foam forming a white fleece around her naked shoulders.”
― The Atrocity Exhibition
