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4-real:
Or: for real , an abbreviation and code in personal ads for advertisers seeking meaningful, not sexual or superficial, relationships. ' If it's for real, be real careful .'


See Also: choppers, chompers, furilla, getting down, IRL, RM, 4-real, cross-living, beaut, beefsteak and onions, beefsteak, hold the onions, lesbionage, proper Casanova, a, full-time, lady, homicidophilia, a bit of rumpy-pumpy, a bit of rumpy-bumpy, gay youthism, genicon, bit of rumpy-bumpy, bit of rumpy-pumpy, blue flame, chloroform, easy on the eyes, easy to look at, flirtatious, flirty, rumpy-bumpy, rumpy-pumpy, stare, stunner,

Quotes Containing 4-real:
Headlines in the Sensation at the end of the movie Transylvania 6-5000 (1985): ''Servants confess: We never had a real hump .''
The Ghost (Rex Harrison) to Lucy Muir (Gene Tierney)in The Ghost and Mrs. Muir (1947): ''Real happiness is worth almost any risk.''
''She was real easy-to-look-at but I hoped I never saw her again.'' Smith (Bruce Willis) in Last Man Standing (1999)
''You and that broad made a real cute couple .'' Lou (Todd Graff) to his con artist friend Eddie (Dana Carvey) in Opportunity Knocks (1990)
''A man who doesn''t spend time with his family can never be a real man .'' Don Corleone (Marlon Brando) in The Godfather (1972)
Judy (Karen Fields) in Sleepaway Camp (1983): ''She''s a real carpenter''s dream; flat-as-a-board and needs a screw!''
Judy (Karen Fields) in Sleepaway Camp (1983): ''She''s a real carpenter''s dream; flat-as-a-board and needs a screw!''
Betty Dodson in the Sex for One segment of the HBO Special The Best of Real Sex (1993): 'There's no such as a frigid woman ; it's somebody who hasn't learned how to have an orgasm .'
Betty Dodson in the Sex for One segment of the HBO Special The Best of Real Sex (1993): ''There''s no such as a frigid woman ; it''s somebody who hasn''t learned how to have an orgasm .''
Nella Turner (Jane Russell) to Stack (Robert Ryan) in The Tall Men (1955): ''You know , for a fellah who doesn''t do much talking, you''ve got real busy eyes . It''s not that I mind being stared at. That''s part of being a female. But I don''t like to be weighed, measured and counted.''
Noel (Stephen Rae) hitting on Angie Scacciapensieri (Geena Davis) in Angie (1994): - Noel: ''We haven''t met. My name is Noel. Yours, please?'' - Angie: ''Ralph.'' - Noel: ''Oh, we''re giving real names. Mine''s Denise.'' - Angie: ''Are you lonely or horny? What''s your problem?'' - Noel: ''I''m Irish which often gets confused for lonely and horny .''
Mrs. Fisher (Joan Plowright) in Enchanted April (1991): ''In my day husbands and beds were never spoken of in the same breath. Husbands were taken seriously as the only real obstacle to sin .''
Paul (Will Smith) in Six Degrees of Separation (1993): ''I believe the imagination is the passport that we create to help take us into the real world . I believe the imagination is merely another phrase for what is most uniquely us. Jung says:The greatest sin is to be unconscious.''
David Larrabee (Greg Kinnear) and Linus Larrabee (Harrison Ford) in Sabrina (1995) - David: ''She''s a real woman , not a, you know .'' - Linus: ''Transvestite?'' - David: ''No, she''s not a bimbo .''
''She turns over, peels off them orange pants, spreads her legs real wide and says to me: take a bite of peach!'' Sailor Ripley (Nicolas Cage) in Wild at Heart (1990)
Mitch Hennessy (Samuel L. Jackson) to Charlene Baltimore (Geena Davis) coming-on to him in The Long Kiss Goodnight (1997): ''Get real, sweetheart . I ain''t handsome , I ain''t rich, and the last time I got blown candy bars cost a nickel.''
Harris B . Telemaker(Steve Martin) and SanDeE (Sarah Jessica Parker) in L.A. Story (1991): - Harris: ''SanDeE, your breasts feel weird.'' - SanDeE: ''Oh, that''s because they''re real.''
British agent 007 James Bond (Pierce Brosnan) loosing the first hand of baccara to Soviet agent Xena Onatopp (Famke Janssen) in GoldenEye (1995): - James: 'It appears we have the same passions. Three anyway.' - Xena: 'I count two. Motoring and baccara... I hope the third is where your real talent lies.' - James: 'One rises to meet a challenge.'
Ellis (Dan Aykroyd) and Mac (Gene Hackman) in Loose Cannons (1990): - Ellis Fielding: '' S & M club? Like sadism and masochism?'' - MacArthur Stern: ''Yeah, you know , you scratch my back , I''ll scratch yours, only real hard.''
Taylor (Mark Harmon) and Veronica (Madeleine Stowe) in Worth Winning (1989): - Taylor: ''Veronica, it is not real life , it is a fairy tale. Come on! Did you ever read The Frog Prince? In that one he''s staying a frog until she kisses him and brings him back to life .'' - Veronica : ''Yeah, well I kissed a lot of frogs and I haven''t met a prince yet.'' - Taylor: ''You''re kissing the wrong frogs. It''s hard to find the right person. It''s a search, a process. I don''t think it''s supposed to be easy.'' -Veronica: ''You know , some say you have to kiss a frog twice.''
Rosalie Maggio, The Dictionary of Bias-Free Usage (1991): ''Men may buy pornography but women pay for it - in terms of exploitation, rape, violence, and a society that sees them as disposable sexual-objects. Pornography associates women with pain, inferiority, and humiliation ; the assumption for the user is that this is real and normal. Good sex is also a victim; a graduate of The School of Pornography is a sex-illiterate. Erotica differs from pornography in that it celebrates rather than degrades human-sexuality . It preserves the mutuality of sexual activity, is not exploitative, controlling, objectifying, addictive, a "using" activity, or affected by prurient-interests. ''
Rosalie Maggio, The Dictionary of Bias-Free Usage (1991): ''Men may buy pornography but women pay for it - in terms of exploitation, rape, violence, and a society that sees them as disposable sexual-objects. Pornography associates women with pain, inferiority, and humiliation ; the assumption for the user is that this is real and normal. Good sex is also a victim; a graduate of The School of Pornography is a sex-illiterate. Erotica differs from pornography in that it celebrates rather than degrades human-sexuality . It preserves the mutuality of sexual activity, is not exploitative, controlling, objectifying, addictive, a "using" activity, or affected by prurient-interests. ''
Alabama Whitman''s (Patricia Arquette) voice over introduction in True Romance (1993):''I had to come all-the-way from the highways and byways of Tallahassee, Florida, to Motor City, Detroit to find my true-love . If you gave me a million years to ponder I would never have guessed that true romance and Detroit would ever go together, and to this day the events that followed all seem like a distant dream. But the dream was real, and was to change our lives forever. I kept asking Clarence why our world seemed to be collapsing and everything seemed so shitty? And he''d say: That''s the way it goes, but don''t forget, it goes-the-other-way too. That''s the way romance is. Usually that''s the way it goes but every once in a while it goes-the-other-way too.''
Lucy Trager (Gwyneth Paltrow) and her older sister Rebecca Trager Lott (Elizabeth Perkins) in Moonlight and Valentino (1995): - Lucy: ''I need your advice on moaning.'' - Rebecca: ''Moaning?'' - Lucy: ''Yeah. Now, is it better to moan or to act like you''re stifling the moan, or just not to moan at all?'' - Rebecca: ''Just be natural. Don''t act , just be yourself.'' - Lucy: ''Becky, we''re not on a talk show, you know , you can tell me for real.'' - Rebecca: ''Well, it''s been a long time, but in my experience the best thing is to breathe very deeply at first . That way you bring him inside you first through his smell and then through the rhythm of your own breath until those places inside you start to tighten and to tingle until you hit the change. The change is where things really start happening on their own.'' - Lucy: ''Hmm, and that''s why I do the moaning.'' - Rebecca: ''No, that''s where you let-go .'' - Lucy: ''Let go of what? You''re being too vague. Start from the beginning and don''t use phrases like ''places inside'' and ''hitting the change''. What is that? Be specific, okay? When do I moan? I mean, how long should I do that breathing thing? Should I open my eyes?''
Lucy Trager (Gwyneth Paltrow) and her older sister Rebecca Trager Lott (Elizabeth Perkins) in Moonlight and Valentino (1995): - Lucy: 'I need your advice on moaning.' - Rebecca: 'Moaning?' - Lucy: 'Yeah. Now, is it better to moan or to act like you're stifling the moan, or just not to moan at all?' - Rebecca: 'Just be natural. Don't act , just be yourself.' - Lucy: 'Becky, we're not on a talk show, you know , you can tell me for real.' - Rebecca: 'Well, it's been a long time, but in my experience the best thing is to breathe very deeply at first . That way you bring him inside you first through his smell and then through the rhythm of your own breath until those places inside you start to tighten and to tingle until you hit the change. The change is where things really start happening on their own.' - Lucy: 'Hmm, and that's why I do the moaning.' - Rebecca: 'No, that's where you let-go .' - Lucy: 'Let go of what? You're being too vague. Start from the beginning and don't use phrases like 'places inside' and 'hitting the change'. What is that? Be specific, okay? When do I moan? I mean, how long should I do that breathing thing? Should I open my eyes?'


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