"Today I will tell you the legend of THE TOWER OF BABEL... "Come, let us build us a tower whose top may reach unto the stars! And the top of the tower we will write the words: Great is the world and its Creator! And great is Man!" But the minds that had conceived the Tower of Babel could not build it. The task was too great. So they hired hands for wages. But the hands that built the Tower of Babel knew nothing of the dream of the brain that had conceived it. BABEL. BABEL. BABEL. BABEL. One man's hymns of praise became other men's curses. People spoke the same language, but could not understand each other..."

"[disguised as Maria] Let's all watch as the world goes to the devil!"

"Jai Courtney as Kyle Reese"

"Emilia Clarke as Sarah Connor"

"Matt Smith as Skynet"

"Arnold Schwarzenegger as Guardian/The Terminator"

"Jason Clarke as John Connor"

"Lee Byung-hun as T-1000"

"[monologue at the start] My parents told me stories about how the world was; what it was like long before I was born; before the war with the machines. They remember a green world, vast and beautiful, filled with laughter and hope for the future. It's a world I never knew. By the time I was born, all this was gone. Skynet: a computer program designed to automate missile defense. It was supposed to protect us, but that's not what happened. August 29, 1997, Skynet woke up. It decided all of humanity was a threat to its existence. It used our own bombs against us. Three billion people died in the nuclear fire. Survivors called it Judgement Day. People lived like rats in shadows, hiding, starving, or worse, captured and put into camps for extermination. I was born after Judgement Day, into a broken world ruled by the machines. The worst extinction units posed as humans. We called them Terminators. And then one man found me. His name was John Connor, and he changed everything. John showed us how to fight back; how to rise up. He freed prisoners. He taught us how to smash the machines to scrap. People whisper about John and wonder how he can know the things he does. They use words like prophet, but John's more. We're here because tonight, he's going to lead us to crush Skynet for good."

"Come with me if you want to live! Now, soldier!"

"Primates evolve over millions of years. I evolve in seconds. And I am here. In exactly four minutes, I will be everywhere."

"Reset the future."

"If you love me, you die."

"J. K. Simmons as O'Brien"

"The rules have been reset."

"There aren't enough bullets in the world to kill me."

"I'm not man, and I'm not machine. I'm more."

"You're nothing but a relic from a deleted timeline."

"[giving Kyle a message to give to Sarah] Thank you, Sarah, for your courage through the dark years. I can't help you with what you must soon face, except to say that the future is not set. There is no fate but what we make for ourselves. You must be stronger than you imagine you can be. You must survive, or I will never exist."

"This is the world now. Logged on, plugged in, all the time."

"Perimiter Breach, Activate Model 101"

"Nice to see you. Get out!"

"I'll be back."

"I'm old, not obsolete."

"I cannot kill Sarah Connor."

"I didn't attack John. I saved him."

"[Confronting the T-800 sent back to 1984] I've been waiting for you."

"Protect my Sarah."

"You didn't think it would be that easy."

"It's hard to watch and it should be hard to watch. It should frighten people, and if it's done that, it's done its job."

"It was cloaked to a great extent in secrecy almost. [...] You knew what it was about, but the script was a close-kept secret I think. Not many people had seen it, and I think they were worried that it would go the same way as War Games, which was made but never seen, so it was all quite mysterious really."

"What we’d depicted and its implications stayed in the minds of every actor and crew member for a long time. I’m sure there were some nightmares. There are some things so far outside our experience or comprehension that they are unthinkable. Nuclear war is one."

"I think Threads didn't keep people at arm's length, it drew people in because of the characters that everybody knew. I mean, we related to them, and that's what I think made Threads so visceral for people."

"I was unaware really of the importance of it at the time, but I was asked to go for an interview, which I did, and I was the first person that Mick Jackson saw for the part. And I went looking rather radical, because I thought "oh, it's about nuclear war", you know, and I'm a very radical person, so I kind of went wearing my sort of "combat gear" which was very "in" at the time. And it was really strange, because afterwords, when I got the part of Ruth, who turned out to be a very fragile sort of a person, I was surprised and he said having been the first one, he saw me for the part. He obviously saw something in me that was, I don't know, vulnerable, maybe. It was the only time I've ever said to a director "I would really like a part in this, regardless of what that part may be", because I knew that the content would be close to my heart."

"People tell me how relevant they find the movie to what's happening now. It’s comforting, at a time when so many films are being remade, to find that people still appreciate – and are scared by – the original film."

"The idea was to take a movie which was about death...and use the iconography of life to tell the story."

"The real effect of a nuclear weapon is not what it does to things, to buildings, to cities: it's what it does to society, what it does to people, what it does psychologically. I was very struck by the work that an American writer called Robert Jay Lifton had done on the psychological effects of the bombings of Nagasaki and Hiroshima on the survivors and I talked to him a lot. It seemed to me that the story that needed to be told was the story of what this does to society as well as what it does to physical things, and you could only really tell that with a drama, with people that you identified with."

"In this movie, from the outset, I wanted to put it in the scale of people that you might know, people like yourself, your immediate family, relations and so on, and no bigger than that, and not really to show anything except how it would happen to them. So, there's no God's eye view in this movie. You don't actually get to look down and get the overall picture and see maps of Europe and maps of the world and so on. You just get what's happening to these people, and it's all really done from ground level. There's no cinematic crane shots or anything like that. It's just very, very documentary."

"There's the hospital sequence in The Day After and there's the hospital sequence in Threads. [...] In The Day After people are being wheeled in on gurneys and everybody's stressed, but they're coping with it as they would do on ER or something like that. In Threads, the floor is covered with muck and shit and blood and people don't have anything they can work with. [...] We see people having their legs amputated without an anesthetic, just something stuck between their teeth for them to bite on. That's what it's going to be like! And I wanted every part of this movie to be "That's what it's going to be like"."

"From the point where the bomb happens, the whole nature of the movie changes. In the first half of the movie, I hope, you have a very full soundtrack. You have all the soundtrack of TV broadcasts and radio broadcasts, the sound of birdsong in the country, the sound of musical things happening, the sound of traffic and city noises. And from the moment that the bomb drops you don't have anything. You don't even have the teletype, all these things, they just type out in silence, and all you hear is wind. [...] You hear voices of people screaming, coughing or whatever. You hear wind, you hear no birds. [...] It's gone. That world is gone."

"The United States government has been forced, reluctantly, to take action to safeguard what it believes are legitimate Western interests in the Middle East. This administration has therefore resolved to send units of its rapid deployment force, the U.S. Central Command, into western Iran. We are confident that the Soviet Union will take note of our resolve, and will desist from its present perilous course of action."

"Our intention in making Threads was to step aside from the politics and – I hope convincingly – show the actual effects on either side should our best endeavours to prevent nuclear war fail."

"Nuclear war is everyone’s problem, it’s not just country to country. It’s a worldwide problem, we all share it, and that’s why it’s so frightening now. Since Threads was made I’m sure there have been advances in what nuclear weapons can do."

"The unprovoked attack on our submarine, and the move into Iran, are the actions of a reckless and warlike power. I have to warn the Soviets in the clearest possible terms that they risk taking us to the brink of an armed confrontation, with incalculable consequences for all mankind."

"Information Officer - D. Talbot"

"Scientific Advisers - Keith H[...], A. Jennings, Charles [...]"

"Of course, my character goes missing halfway through the film, so half of the filming I wasn’t privy to. [...] You want to know what happens, but you’re not told. I suppose the message is that’s exactly what it’ll be like — nothing will be tied up nicely because people will disappear."