Shia LaBeouf has given the quote which will replace “What’s the frequency, Kenneth?” as the enigmatic catchphrase of the 2010s.

Apparently at this morning’s press conference in Berlin for Lars von Trier’s “Nymphomaniac,” Le Beouf said: “When the seagulls follow the trawler, it is because they think sardines will be thrown into the sea.”

Then he left without explanation.

LaBeouf has earned a reputation in a short time as a brawler, both physically and intellectually. He’s erratic, abrasive, obnoxious at times. He’s certainly uncooperative. LeBeouf blurts out shocking statements and gets himself into trouble all the time.

This morning in Berlin several reports also noted that he looked thin. He’s already gotten into scuffles there, as well.

Is Shia LaBeouf the next celebrity victim? Are we all going to say we saw the signs of trouble after something really awful happens?

The sardines quote is borrowed from controversial British footballer Eric Cantona. In April 1995 he received 120 hours of community service after kicking a fan in the chest during a game.

Of course, the statement is weird. But it just means he’s not going to be a target for journalists. But why walk out on the press conference? And before anything even happens?

“Nymphomaniac” needs all the help it can get. von Trier is in the public dog house after his comments in Cannes two years ago about being a Nazi. At that press conference, he also suggested his “Melancholia” actresses make a porn movie with him. Kirsten Dunst was aghast. But Charlotte Gainsbourg was evidently ok with it since she’s in “Nymphomaniac.”

von Trier also made one of the worst and most appalling movies ever, “Anti Christ.” He’s a barrel of laughs on a good day.

For some reason, Shia’s statement reminds me of Fiona Apple’s album title: “When the Pawn Hits the Conflicts He Thinks like a King What He Knows Throws the Blows When He Goes to the Fight and He’ll Win the Whole Thing ‘fore He Enters the Ring There’s No Body to Batter When Your Mind Is Your Might So When You Go Solo, You Hold Your Own Hand and Remember That Depth Is the Greatest of Heights and If You Know Where You Stand, Then You Know Where to Land and If You Fall It Won’t Matter, Cuz You’ll Know That You’re Right.”

That would have been worse I think…

It must be some consolation to Paul Greengrass, Tom Hanks and Sony Pictures– “Captain Phillips” was named the Best Edited dramatic film of the year last night by the Eddie Awards. Billy Ray has the screenplay award for the same movie. Tom Hanks got shut out of the Oscars. But voters in these awards are circling back to this fine film. Maybe Tom will get to present Best Picture. The Oscars theme this year is about heroes. Makes sense.

Sony actually got both of the big awards last night. “American Hustle” received the comedy Eddie for Best Editing.

Here are the winners:

64th ANNUAL ACE EDDIE AWARD WINNERS

BEST EDITED FEATURE FILM (DRAMATIC):

Captain Phillips

Christopher Rouse, A.C.E.

BEST EDITED FEATURE FILM (COMEDY OR MUSICAL):

American Hustle

Jay Cassidy, A.C.E., Crispin Struthers & Alan Baumgarten, A.C.E.

BEST EDITED ANIMATED FEATURE FILM:

Frozen

Jeff Draheim

BEST EDITED DOCUMENTARY (FEATURE):

20 Feet from Stardom

Douglas Blush, Kevin Klauber & Jason Zeldes

BEST EDITED DOCUMENTARY (TELEVISION):

The Assassination of President Kennedy

Chris A. Peterson

BEST EDITED HALF-HOUR SERIES FOR TELEVISION:

The Office: “Finale”

David Rogers & Claire Scanlon

BEST EDITED ONE-HOUR SERIES FOR COMMERCIAL TELEVISION:

Breaking Bad: “Felina”

Skip MacDonald A.C.E.

BEST EDITED ONE-HOUR SERIES FOR NON-COMMERCIAL TELEVISION:

Homeland: “Big Man in Tehran”

Terry Kelley, A.C.E.

BEST EDITED MINISERIES OR MOTION PICTURE FOR TELEVISION:

Behind the Candelabra

Mary Ann Bernard

BEST EDITED NON-SCRIPTED SERIES:

Anthony Bourdain: Parts Unknown: Tokyo

Nick Brigden

BEST STUDENT EDITING

Ambar Salinas, Video Symphony

Usually movies that do better abroad than in the US are action films. They don’t require much understanding of the English language. If the story stinks or the dialogue is bad, foreigners don’t care so much. They want to see movie stars.

Then how do you explain “The Wolf of Wall Street”? Sacre bleu: “Wolf” has racked up $160 million internationally, versus $102 million here in the U.S. All those long speeches! Apparently they don’t matter. The French have spent $25 million on “Wolf.” Germany has forked over $20 million. Spain, Italy, Poland have each embraced this three hour tale of debauchery and greed. I wish I knew what Quaaludes translated into in those places!

Of course, the movie’s been a big hit in the U.K. and Australia, but that was to be expected.

“Wolf” has turned into the best bet a big studio has made on a long shot in a long time. Everyone worried the three hours running time would turn off audiences. There was also the math– a three hour movie plays fewer times a day. Plus, Martin Scorsese almost didn’t make a release date. He edited the movie in his home, in kitchens and bathrooms, around the clock. So it’s a very happy ending.

Domestically, “Wolf” has a way to go before it surpasses “Shutter Island” ($128 mil) and “The Departed” ($132 million). But if it can hold on through the Oscars on March 2, the Jordan Belfort story could become Scorsese’s biggest grossing film.