The Lake House Quotes
A lonely doctor who once occupied an unusual lakeside home begins exchanging love letters with its former resident, a frustrated architect. They must try to unravel the mystery behind their extraordinary romance before it's too late.
Kate: Life is not a book, Alex. And it can be over in a second. I was having lunch with my mother at Daley Plaza and a man was killed right in front of me. He died in my arms. And I thought, "It can't end just like that on Valentine's Day." And I thought about all the people who love him, waiting at home, who will never see him again. And then I thought, "What if there is no one? What if you live your whole life and no one is waiting?"
Simon Wyler: Where's your brother?
Alex: I sent him away. He wasn't feeling well. You know how he is, he worries.
Simon Wyler: Yeah, I know. He gets that from your mother, I'm afraid. She always worried too much.
Alex: What are you looking at?
[looking at architectural plans]
Simon Wyler: Hmm? Oh, yeah, here, take a gander. It's a proposal for a museum.
Alex: Who is it?
Simon Wyler: Someone new.
Alex: Oh, I like the walkways, where the light falls. What are the materials?
Simon Wyler: Granite. Aluminum.
Alex: White panels are straight out of Meier... but the interior color coming through the front windows, that's different. It's not new, but it's clean, uncluttered. I like it.
Simon Wyler: When was the last time you were in Barcelona?
Alex: Years ago, with you, Mom and Henry.
Simon Wyler: Do you remember visiting Casa de la Caritat?
Alex: The almshouse.
Simon Wyler: That's right. You mentioned Meier. His Barcelona museum stands in the same area as Casa de la Caritat. It drinks the same light. Meier designed a series of louvered skylights to capture that light and cast it inward to illuminate the art within, but indirectly. And, that was important, because although light enhances art, it can also degrade it. But, you know all that already, you son of a gun. Now, this... where do you suppose this is to be built?
Alex: I have no idea.
Simon Wyler: Oh, but you said you liked it.
Alex: Conceptually.
Simon Wyler: Now, come on. You know as well as I do that the light in Barcelona is quite different from the light in Tokyo. And, the light in Tokyo is different from that in Prague. A truly great structure, one that is meant to stand the tests of time never disregards its environment. A serious architect takes that into account. He knows that if he wants presence, he must consult with nature. He must be captivated by the light. Always the light. Always.
Alex: I sent him away. He wasn't feeling well. You know how he is, he worries.
Simon Wyler: Yeah, I know. He gets that from your mother, I'm afraid. She always worried too much.
Alex: What are you looking at?
[looking at architectural plans]
Simon Wyler: Hmm? Oh, yeah, here, take a gander. It's a proposal for a museum.
Alex: Who is it?
Simon Wyler: Someone new.
Alex: Oh, I like the walkways, where the light falls. What are the materials?
Simon Wyler: Granite. Aluminum.
Alex: White panels are straight out of Meier... but the interior color coming through the front windows, that's different. It's not new, but it's clean, uncluttered. I like it.
Simon Wyler: When was the last time you were in Barcelona?
Alex: Years ago, with you, Mom and Henry.
Simon Wyler: Do you remember visiting Casa de la Caritat?
Alex: The almshouse.
Simon Wyler: That's right. You mentioned Meier. His Barcelona museum stands in the same area as Casa de la Caritat. It drinks the same light. Meier designed a series of louvered skylights to capture that light and cast it inward to illuminate the art within, but indirectly. And, that was important, because although light enhances art, it can also degrade it. But, you know all that already, you son of a gun. Now, this... where do you suppose this is to be built?
Alex: I have no idea.
Simon Wyler: Oh, but you said you liked it.
Alex: Conceptually.
Simon Wyler: Now, come on. You know as well as I do that the light in Barcelona is quite different from the light in Tokyo. And, the light in Tokyo is different from that in Prague. A truly great structure, one that is meant to stand the tests of time never disregards its environment. A serious architect takes that into account. He knows that if he wants presence, he must consult with nature. He must be captivated by the light. Always the light. Always.
Kate: Okay, my mystery correspondent, I get it - just in case you really are where and when you think you are, you'll need this
[he takes out a scarf from his mailbox]
Kate: . There was a freak late snow and everyone got sick. So, plenty of rest, lots of fluids. Doctor's orders.
Alex: [sarcastically] Snow. Right.
[he takes out a scarf from his mailbox]
Kate: . There was a freak late snow and everyone got sick. So, plenty of rest, lots of fluids. Doctor's orders.
Alex: [sarcastically] Snow. Right.
Alex: What's it like in the year 2006?
Kate: Well, I'm afraid the world's pretty much the same. Of course, we all dress in shiny metal jumpsuits and drive flying cars and no one talks anymore because we can read each other's minds... but, the truth is, from the past, not much has really changed in 2006.
Kate: Well, I'm afraid the world's pretty much the same. Of course, we all dress in shiny metal jumpsuits and drive flying cars and no one talks anymore because we can read each other's minds... but, the truth is, from the past, not much has really changed in 2006.
Alex: [after he saw her at the subway station in 2004] I don't know if you remember but, we saw each other. That is, I saw you. You never told me... how beautiful you were.
Kate: Well, maybe you saw someone else. That was a bad hair year for me.
Alex: Long brown hair, gentle unguarded eyes...
Kate: OK, OK. You saw me. But I still don't know what you look like.
Kate: Well, maybe you saw someone else. That was a bad hair year for me.
Alex: Long brown hair, gentle unguarded eyes...
Kate: OK, OK. You saw me. But I still don't know what you look like.
Alex: There should be a stairway down to the water, a porch, a deck. Here, you're in a - in a box. A glass box with a view to everything that's around you... but you can't touch it. No interconnection between you and what you're looking at.
Henry Wyler: I don't know, you know. He's got this big maple growing right in the middle of the house.
Alex: Containment.
[He pushes a button which opens a glass door]
Alex: Containment and control. This house is about ownership, not connection. I mean, it's beautiful. Seductive, even. But, it's incomplete.
[He pauses]
Alex: It was all about him. Dad knew how to build a house, not a home. But you know... I think he wants us to do what he couldn't. But, admitting that would mean admitting that he came up short in some way... that he could do more. And that tortures him.
Henry Wyler: Do you remembering being here with Mom?
Alex: I remember she tried to make it work here... with us... with him.
Henry Wyler: I don't know, you know. He's got this big maple growing right in the middle of the house.
Alex: Containment.
[He pushes a button which opens a glass door]
Alex: Containment and control. This house is about ownership, not connection. I mean, it's beautiful. Seductive, even. But, it's incomplete.
[He pauses]
Alex: It was all about him. Dad knew how to build a house, not a home. But you know... I think he wants us to do what he couldn't. But, admitting that would mean admitting that he came up short in some way... that he could do more. And that tortures him.
Henry Wyler: Do you remembering being here with Mom?
Alex: I remember she tried to make it work here... with us... with him.
