ANYTHING Val Kilmer says in Tombstone but the one that comes to mind first is "Why Johnny I apologize. I had forgotten you were there. You may go now."

"That painting was a gift, Todd, and I'm taking it with me"
Wedding Crashers

Cliche, I know, but the entire Jack Nicholson speach on the witness stand in "A Few Good Men"

Son, we live in a world that has walls, and those walls have to be guarded by men with guns. Whose gonna do it? You? You, Lt. Weinburg? I have a greater responsibility than you could possibly fathom. You weep for Santiago, and you curse the marines. You have that luxury. You have the luxury of not knowing what I know. That Santiago's death, while tragic, probably saved lives. And my existence, while grotesque and incomprehensible to you, saves lives. You don't want the truth because deep down in places you don't talk about at parties, you want me on that wall, you need me on that wall. We use words like honor, code, loyalty. We use these words as the backbone of a life spent defending something. You use them as a punchline. I have neither the time nor the inclination to explain myself to a man who rises and sleeps under the blanket of the very freedom that I provide, and then questions the manner in which I provide it. I would rather you just said thank you, and went on your way, Otherwise, I suggest you pick up a weapon, and stand a post. Either way, I don't give a damn what you think you are entitled to.

Pity the poor film director (William H. Macy). He's arrived with cast and crew in the perfectly Rockwellian town of Waterford, Vermont, only to discover that the local mill--a crucial location for his movie, since it's titled "The Old Mill"--burned down in 1960. The idealistic screenwriter (Philip Seymour Hoffman) would rather pursue a pure-hearted local (Rebecca Pidgeon) than do a last-minute rewrite; the town's aspiring politico (Clark Gregg) wants to milk the production for every dime it's worth; the oft-exposed bimbo starlet (Sarah Jessica Parker) is now balking at her contractual nude scene; and a local teenager (Julia Stiles) is only too willing to exploit the indiscretions of the film's skirt-chasing star (Alec Baldwin). And of course, the power-wielding producer (David Paymer) is panicking about everything.
Welcome to David Mamet's State and Main, the acclaimed writer-director's funniest and most accessible film to date, propelled by the rocket fuel of Mamet's show-biz experience and driven by an ensemble cast that simply couldn't be better. Naturally, the writer's dilemma is the meatiest one--will he be noble or sell out?--and Mamet arrives at a solution that's as hilarious as it is morally justified. Along the way, the rigors of filmmaking are explored with farcical abandon, such as how to provide a high-tech product placement... in a 19th-century story. Mamet's razor-sharp dialogue is gourmet popcorn here--each kernel yields a tasty surprise--and the whole scenario (intentionally modeled in the style of Preston Sturges) plays out with the breezy assurance of vintage screwball comedy. It's pure gold from start to finish, and even the closing credits offer another reason to laugh. --Jeff Shannon

**i copied this from amazon, because when i tried to explain it, it sounded really bad. it's a pretty funny movie though.**

A few good men.

Yes Confused, Val Kilmer was great in Tombstone. I loved it when he twirled his drink mug like a revolver!