1970s American films

"There are no masses in Virginia City, only individuals whose will for good or bad can bring them to the ends they ought to have. I like that very much."

"Just keep saying to yourself "I'm adequate.""

"Dear friends, would those of you who know what this is all about please raise your hands?"

"I think if God is dead he laughed himself to death. Because, you see, we live in Eden. Genesis has got it all wrong — we never left the Garden. Look about you. This is paradise. It's hard to find, I'll grant you, but it is here. Under our feet, beneath the surface, all around us is everything we want. The earth is shining under the soot. We are all fools. Ha ha! Moriarty has made fools of all of us. But together, — you and I, tonight, — we'll bring him down."

"[to Bonasera] I want you to use all your powers, and all your skills. I don't want his mother to see him this way. [looks in anguish at Sonny's bullet-ridden body] Look how they massacred my boy!"

"I spent my life trying not to be careless. Women and children can be careless, but not men."

"[to Rocco Lampone, after Rocco kills Paulie Gatto] Leave the gun. Take the Cannoli."

"Marlon Brando – Don Vito Corleone"

"Al Pacino – Michael Corleone"

"James Caan – Santino "Sonny" Corleone"

"Robert Duvall – Tom Hagen"

"Diane Keaton – Kay Adams"

"Abe Vigoda – Sal Tessio"

"Sterling Hayden – Captain McCluskey"

"Talia Shire – Connie Corleone Rizzi"

"Gianni Russo – Carlo Rizzi"

"John Cazale – Fredo Corleone"

"Richard Castellano – Pete Clemenza"

"John Marley – Jack Woltz"

"Al Lettieri – Virgil "the Turk" Solozzo"

"Alex Rocco – Moe Greene"

"Richard Conte – Don Emilio Barzini"

"Louis Guss – Don Joe Zaluchi"

"Al Martino – Johnny Fontane"

"Lenny Montana – Luca Brasi"

"Victor Rendina – Philip Tattaglia"

"One of my favorite books-and I emphasize the word book here because I'm not talking about the movie-is The Godfather, because that book took me to another world-not necessarily a real world, but it did make good guys of some rather unpleasant people. It did take me to another world."

"Now what in hell am I going to tell this boy Schaefer's parents? That a substitute nurse assassinated him because she couldn't tell the doctors from the patients on the floor? My God! The incompetence in this hospital is absolutely radiant... I mean, where do you train your nurses, Mrs. Christie, Dachau!?"

"You're greedy, unfeeling, inept, indifferent, self-inflating, and unconscionably profitable. Besides that, I have nothing against you. I'm sure you play a hell of a game of golf."

"We've got a 23-year-old boy. I threw him out of the house last year. A shaggy-haired Maoist. I don't know where he is. Presumably, building bombs in basements as an expression of universal brotherhood."

"I'm middle class. Among us middle class, love doesn't triumph over all - responsibility does."

"Within a week, my father had closed his Beacon Hill practice and set out to start a mission in the Mexican Mountains. I turned in my SDS card and my crash helmet, and I followed him. It was a disaster, at least for me. My father had received the revelation, not I. He stood gaunt on a mountain slope and preached the Apocalypse to solemnly amused Indians. I masturbated a great deal. We lived in a grass wickiup, ate raw rabbit and crushed piñon nuts. It was hideous. Within two months, I was back in Boston. A hollow shell, disenchanted with everything, and dizzy with dengue. I turned to austerity, combed my hair tight, entered nursing school. I became haggard, driven - had shamelessly incestuous dreams about my father. I took up with some of the senior staff there. One of them a portly psychiatrist, explained I was generated by an unresolved lust for my father. I cracked up. One day, they found me walking to work naked and screaming obscenities. There was talk of institutionalizing me. So I packed a bag and went back to join my father in the Sierra Madre Mountains. I've been there ever since. That's three years. My father is, of course, as mad as a hatter. I watch over him, and have been curiously content. You see, Doctor, I believe in everything."

"Mr. Blacktree disapproves of my miniskirt, the only thing I had to come to the city with. Back at the tribe, I wear ankle-length buckskin."

"You're a very tired, very damaged man. You've had a hideous marriage, I assume a few tacky affairs along the way. You're understandably reluctant to get involved again. On top of that, here I am with this preposterous idea you throw everything up and go off with me to some barren mountains in Mexico. Utterly mad, I know. On the other hand, you obviously find this world as desolate as I do. You did try to kill yourself last night. So that's it, Herb. Either me and the mountains or - a bottle of potassium."

"This is Dr. Ives. He's in the Nephrology Lab. I was in there a little while ago, and he was suddenly taken ill, and I thought I'd better get him over here right away. He had at that time perhaps an hour to live. Prompt treatment would have saved his life. As a staff doctor, he was seen without preliminaries... His vital signs were taken, an electrocardiogram... which revealed occasional ventricular premature contractions. An intern took his history... and then he was promptly... simply... forgotten to death."

"I am the fool for Christ, and Paraclete of Caborca."

"Mislaid. Mislaid among the broken wrists, the chest pains, the scalp lacerations, the man whose fingers were crushed in a taxi door, the infant with a skin rash, the child swiped by a car, the old lady mugged in the subway, the derelict beaten by sailors, the teenage suicide, the paranoids, drunks, asthmatics, the rapes, the septic abortions, the overdosed addicts, the fractures, infarcts, hemorrhages, concussions, boils, abrasions, the colonic cancers, the cardiac arrests - the whole wounded madhouse of our times."

"Mrs. Cushing: Dr. Spezio, may I see you for a moment, Doctor, if you don't mind? Doctor is this your handwriting, if you don't mind? Am I supposed to read this? Was that a sprain? Was that a broken wrist? I can't read that scribbling. I mean I have to bill these people. I know you doctors are the ministering angels and I'm the bitch from the accounting department, but I've a job to do too. I mean, if you don't mind, Doctor."

"Behind the lab coat beats the heart of a man who's been pushed to the edge."

"Madness, Murder and Malpractice."

"Watch them operate!"

"I may be crazy, but I think I've operated on the wrong patient."

"George C. Scott - Dr. Herbert "Herb" Bock"

"Diana Rigg - Miss Barbara Drummond"

"Robert Walden - Dr. Brubaker"

"Barnard Hughes - Edmund Drummond (and an uncredited role as Dr. Mallory, the OB/GYN who discovers he's got the wrong patient.)"

"Richard A. Dysart - Dr. Welbeck"

"Stephen Elliott - Dr. John Sundstrom"

"Andrew Duncan - William "Willie" Mead"

"Donald Harron - Dr. Milton Mead"

"Nancy Marchand - Mrs. Christie, Head of Nurses"

"Jordan Charney - Hitchcock, Hospital Administration"

"Roberts Blossom - Guernsey"

"Lenny Baker - Dr. Howard Schaefer"

"Richard Hamilton - Dr. Ronald Casey"

"Arthur Junaluska - Mr. Blacktree"

"Kate Harrington - Nurse Dunne"

"Katherine Helmond - Mrs. Marilyn Mead"

"David Hooks - Dr. Joe Einhorn"

"Frances Sternhagen - Mrs. Sally Cushing"

"Stockard Channing - E.R. Nurse"

""Slow ahead." I can go slow ahead. Come on down here and chum some of this shit. [the shark suddenly appears, causing Brody to recoil in shock] You're gonna need a bigger boat."

"[aiming an M1 Garand] Smile, you son of a...! [shoots the air tank in the shark's mouth; causing the shark to explode]"

"[about Mayor Vaughn] I'm not going to waste my time arguing with a man who's lining up to be a hot lunch."

"[the shark crashes into the boat killing the power] It ate the light."

"Y'all know me. Know how I earn a livin'. I'll catch this bird for you, but it ain't gonna be easy. Bad fish! Not like going down to the pond and chasing bluegills and tommycods. This shark, swallow ya whole. Little shakin', little tenderizin', down you go. And we gotta do it quick, that'll bring back the tourists, that'll put all your businesses on a payin' basis. But it's not gonna be pleasant! I value my neck a lot more than three thousand bucks, chief. I'll find him for three, but I'll catch him, and kill him, for ten. But you've gotta make up your minds. If you want to stay alive, then ante up. If you want to play it cheap, be on welfare the whole winter. I don't want no volunteers, I don't want no mates, there's too many captains on this island. $10,000 for me by myself. For that you get the head, the tail, the whole damn thing."

"Here lies the body of Mary Lee; died at the age of a hundred and three. For fifteen years she kept her virginity; not a bad record for this vicinity."

"I don't think you appreciate the gut reaction people have to these things...Martin, It's all psychological. You yell 'Barracuda,' everybody says 'Huh? What?' You yell 'Shark,' we've got a panic on our hands on the Fourth of July."

"Don't go in the water."

"She was the first."

"Do you like fish? Well, he likes you too..."

"See it before you go swimming."

"You'll never go in the water again!"

"The terrifying motion picture from the terrifying No. 1 best seller."

"When beaches open this summer, you will be taken by Jaws."

"[from TV spot] None of man's fantasies of evil can compare with the reality of Jaws."

"[from TV spot] There is a creature alive today who has survived millions of years of evolution, without change, without passion and without logic. It lives to kill - a mindless eating machine. It will attack and devour anything. It is as if God created the Devil, and gave him Jaws."

"[from re-release trailer] It was seen by 67 million people. It took two years to make. It was shown in 40 countries, in 17 different languages. Nominated for 18 awards... If you forgot what terror is like, the original Jaws is back."

"Roy Scheider - Police Chief Martin Brody"

"Robert Shaw - Quint"

"Richard Dreyfuss - Matt Hooper"

"Lorraine Gary - Ellen Brody"

"Murray Hamilton - Mayor Larry Vaughn"

"Carl Gottlieb - Ben Meadows"

"Jeffrey Kramer - Deputy Leonard 'Lenny' Hendricks"

"Lee Fierro - Mrs. Kintner"

"I watched a snail crawl along the edge of a straight razor. That's my dream. That's my nightmare: crawling, slithering, along the edge of a straight razor and surviving."

"Have you ever considered any real freedoms? Freedoms from the opinion of others... even the opinions of yourself?"

"As long as cold beer, hot food, rock 'n' roll, and all the other amenities remain expected norm, our conduct of the war will only gain impotence."

"I've seen horrors, horrors that you've seen. But you have no right to call me a murderer. You have a right to kill me. You have a right to do that, but you have no right to judge me. It's impossible for words to describe what is necessary to those who do not know what horror means. Horror! Horror has a face, and you must make a friend of horror. Horror and moral terror are your friends. If they are not, then they are enemies to be feared. They are truly enemies."

"I remember when I was with Special Forces. Seems a thousand centuries ago. We went into a camp to inoculate the children. We left the camp after we had inoculated the children for polio, and this old man came running after us and he was crying. He couldn't see. We went back there and they had come and hacked off every inoculated arm. There they were in a pile, a pile of little arms. And I remember I...I...I cried. I wept like some grandmother. I wanted to tear my teeth out. I didn't know what I wanted to do. And I want to remember it. I never want to forget it. I never want to forget. And then I realized, like I was shot — like I was shot with a diamond...a diamond bullet right through my forehead. And I thought, my God, the genius of that. The genius! The will to do that: perfect, genuine, complete, crystalline, pure. And then I realized they were stronger than we, because they could stand it. These were not monsters. These were men, trained cadres — these men who fought with their hearts, who had families, who have children, who are filled with love — but they had the strength — the strength! — to do that. If I had ten divisions of those men, our troubles here would be over very quickly. You have to have men who are moral and at the same time who are able to utilize their primordial instincts to kill without feeling, without passion, without judgment. Without judgment! Because it's judgment that defeats us."

"We train young men to drop fire on people, but their commanders won't allow them to write "fuck" on their airplanes because it's obscene!"

"I worry that my son might not understand what I've tried to be. And if I were to be killed, Willard, I would want someone to go to my home and tell my son everything — everything I did, everything you saw — because there's nothing that I detest more than the stench of lies. And if you understand me, Willard, you will do this for me."

"The horror ... the horror. [These are Kurtz's last words, and parallel those of the novella's Mr. Kurtz character.]"

"[voiceover] Saigon. Shit. I'm still only in Saigon. Every time I think I'm gonna wake up back in the jungle. When I was home after my first tour, it was worse. I'd wake up and there'd be nothing. I hardly said a word to my wife until I said "yes" to a divorce. When I was here, I wanted to be there. When I was there, all I could think of was getting back into the jungle. I'm here a week now, waiting for a mission, getting softer. Every minute I stay in this room, I get weaker, and every minute Charlie squats in the bush, he gets stronger. Each time I looked around, the walls moved in a little tighter."

"[voiceover] Everyone gets everything he wants. I wanted a mission, and for my sins, they gave me one. Brought it up to me like room service. It was a real choice mission, and when it was over, I never wanted another."

"[voiceover] I was going to the worst place in the world, and I didn't even know it yet. Weeks away and hundreds of miles up a river that snaked through the war like a main circuit cable plugged straight into Kurtz. It was no accident that I got to be the caretaker of Colonel Walter E. Kurtz's memory any more than being back in Saigon was an accident. There is no way to tell his story without telling my own. And if his story really is a confession, then so is mine."

"[voiceover] Charlie didn't get much USO. He was dug in too deep or moving too fast. His idea of great R&R was cold rice and a little rat meat. He had only two ways home: death or victory."

"[voiceover] It's a way we had over here with living with ourselves. We cut 'em in half with a machine gun and give 'em a Band-Aid. It was a lie, and the more I saw them, the more I hated lies. Those boys were never gonna look at me the same way again, but I felt like I knew one or two things about Kurtz that weren't in the dossier. Do Lung Bridge was the last Army outpost in the Nung River. Beyond it, there was only Kurtz."

"[voiceover] Oh, man. The bullshit piled up so fast in Vietnam you needed wings to stay above it."

"[reading a letter Kurtz has sent to his son] Dear son, I'm afraid that both you and your mother will have been worried at not hearing from me during the past weeks, but my situation here has become a difficult one. I've been officially accused of murder by the Army. The alleged victims were four Vietnamese double agents. We spent months uncovering them and accumulating evidence. When absolute proof was completed, we acted. We acted like soldiers. The charges are unjustified. They are, in fact, and in the circumstances of this conflict, quite completely insane. In a war, there are many moments for compassion and tender action. There are many moments for ruthless action — what is often called ruthless, what may in many circumstances be only clarity — seeing clearly what there is to be done and doing it directly, quickly, awake, looking at it. I will trust you to tell your mother what you choose about this letter. As for the charges against me, I am unconcerned. I am beyond their timid, lying morality, and so I am beyond caring. You have all my faith. Your loving father.""

"[voiceover] "Never get out of the boat." Absolutely goddamn right! Unless you were goin' all the way. Kurtz got off the boat. He split from the whole fuckin' program."

"[voiceover] Part of me was afraid of what I would find and what I would do when I got there. I knew the risks, or imagined I knew. But the thing I felt the most, much stronger than fear, was the desire to confront him."

"[voiceover] They were gonna make me a major for this, and I wasn't even in their fucking army anymore. Everybody wanted me to do it, him most of all. I felt like he was up there, waiting for me to take the pain away. He just wanted to go out like a soldier, standing up, not like some poor, wasted, rag-assed renegade. Even the jungle wanted him dead, and that's who he really took his orders from anyway."

"[voiceover] If the generals back in Nha Trang could see what I saw, would they still want me to kill him? More than ever probably."

"You smell that? Do you smell that? Napalm, son. Nothing else in the world smells like that. I love the smell of napalm in the morning. You know, one time we had a hill bombed for 12 hours. When it was all over, I walked up. We didn't find one of 'em, not one stinkin' dink body. The smell — you know that gasoline smell — the whole hill smelled like... victory. Someday this war's gonna end."

"Charlie don't surf!"

"[after being given a "tour" of Kurtz's camp, which contained rows of human heads impaled on spikes and displayed around ancient temples, Chef is horrified] "This Colonel guy? He's wacko, man! He's far worse than crazy, he's evil! I mean, that's what the man's got set up here. It's fuckin' pagan idolatry! Look around you. Shit! He's loco... I ain't afraid of all them fuckin' skulls and altars and shit. I used to think if I died in an evil place, then my soul wouldn't be able to make it to Heaven. But now? Fuck, I mean, I don't care where it goes, as long as it ain't here! So whaddya wanna do? I'll kill the fuck...""

"This is dialectics. It's very simple dialectics: one through nine, no maybes, no supposes, no fractions. You can't travel in space, you can't go out into space, you know, without like, you know, with fractions! What are you going to land on, one quarter, three eighths? What are you going to do when you go from here to Venus or something? That's dialectic physics, okay?"

"This is the way the world ends. Look at this shit we're in man. Not with a bang, but with a whimper, and with a whimper, I'm splitting, Jack. [Note: This is a variation on T.S. Eliot's The Hollow Men – "This is the way the world ends, not with a bang but a whimper".]"

"[talking to Willard about Kurtz] Why? Why would a nice guy like you want to kill a genius? Going down pretty good, huh? Why? Do you know that the man really likes you? He likes you. He really likes you. But he's got something in mind for you. Aren't you curious about that? I'm curious. I'm very curious. Are you curious? There's something happening out here, man. You know something, man? I know something you that you don't know. That's right, Jack. The man is clear in his mind, but his soul is mad. Oh, yeah. He's dying, I think. He hates all this. He hates it! But the man's a...he reads poetry out loud, alright? And a voice...he likes you because you're still alive. He's got plans for you. No, I'm not gonna help you. You're gonna help him, man. You're gonna help him. I mean, what are they gonna say, man, when he's gone? 'Cause he dies when it dies, man! When it dies, he dies! What are they gonna say about him? What? Are they gonna say he was a kind man? He was a wise man? He had plans? He had wisdom? Bullshit, man! And am I gonna be the one that's gonna set them straight? Look at me! Wrong! [points to Willard] You!"

"Lt. Gen. R. Corman: Well, you see, Willard, in this war, things get confused out there: power, ideals, the old morality, practical military necessity. But out there with these natives, it must be a temptation to be God, because there's a conflict in every human heart, between the rational and the irrational, between good and evil, and good does not always triumph. Sometimes the dark side overcomes what Lincoln called the better angels of our nature. Every man has got a breaking point. You and I have one. Walter Kurtz has reached his, and very obviously, he has gone insane."

"Hubert de Marais: [Redux version] See, Captain, when my grandfather and my uncle's father came here there was nothing. The Vietnamese were nothing. So we worked hard, very hard, and brought rubber from Brazil and then planted here. We took the Vietnamese, work with them, make something: something out of nothing. So when you ask me why we want to stay here, Captain, we want to stay here because it's ours. It belongs to us. It keeps our family together. I mean, we fight for that, while you Americans — you are fighting for the biggest nothing in all of history!"

"My film is not about Vietnam. It is Vietnam. It’s what it was really like. It was crazy. And the way we made it was very much like the way the Americans were in Vietnam. We were in the jungle. There were too many of us. We had access to too much money, too much equipment, and little by little, we went insane."

"Marlon Brando - Colonel Walter E. Kurtz"

"Robert Duvall - Lieutenant Colonel William "Bill" Kilgore"

"Martin Sheen - Captain Benjamin L. Willard"

"Frederic Forrest - Engineman Third Class Jay "Chef" Hicks"

"Albert Hall - Quartermaster George "Chief" Phillips"

"Sam Bottoms - Lance B. Johnson"

"Laurence Fishburne - Gunner's Mate 3rd Class Tyrone "Mr. Clean" Miller"

"Dennis Hopper - Photojournalist"

"Harrison Ford - Colonel G. Lucas"

"G.D. Spradlin - Lieutenant General Corman"

"Jerry Ziesmer - Jerry"

"Scott Glenn - Lieutenant Richard M. Colby"

"Aurore Clement - Roxanne Sarrault"

"Cynthia Wood - Playmate of the year"

"The Horror. . . The Horror. . ."

"This is the end..."

"To the victims go the spoils."

"MORNING SMELLS Some People Like Coffee. Some People Like Napalm."

"It is impossible to describe what is necessary, to those who do not know what horror means. You must make a friend of horror."

"You gotta be kidding. I don't got any time to break in any newcomers. Why don't you do this boy a favor ... if I need a partner, I'll get me someone who knows what the hell he's doin'."

"[to Gonzalez] Sociology? Oh, you'll go far — that's if you live ... Just don't let your college degree get you killed 'cause I'm liable to get killed along with ya."

"Now you know why they call me "Dirty Harry". I get every dirty job that comes along."

"Gonzalez was obeying orders from his superior, me ... he didn't know anything about it. And when this mess is over, if he [the Chief] wants my badge, well, he can have that too."

"No wonder they call him Dirty Harry. Always get the shit-end of the stick."

"[in note to the mayor] To the City of San Francisco, I will enjoy killing one person every day until you pay me one hundred thousand dollars ($100,000). If you agree say so tomorrow morning in Personal Column San Francisco Chronicle and I will set up meeting. If I do not hear from you it will be my next pleasure to kill a Catholic priest or a nigger. Scorpio"

"[in a letter] The double-crossing San Francisco police made me do this. Now ransom $200,000 in used 10s and 20s. One man with yellow bag, south side, Marina Green, East Harbor, 9 p.m., she has oxygen until 3 a.m. tomorrow morning, red panties and bra, nice tits, mole on left thigh. Anything cute and you'll force me to let girl die of slow suffocation. Scorpio"

"[to Callahan, on the phone] If I even think you're being followed, the girl dies. If you talk to anyone, I don't care if it's a Pekinese pissing against a lamppost, the girl dies ... No car. I give you a certain amount of time to go from phone booth to phone booth. I ring four times. You don't answer by the fourth ring, I hang up and that's the end of the game. The girl dies ... Cop! ... I hope you're not stupid."

"[to Callahan] Left hand. Let's see the gun.[Harry pulls out his .44 Magnum] My! That's a big one."

"[to Callahan] No, don't pass out on me now cop! No, no, no, no, no, not yet, not yet, don't pass out on me yet you rotten oinker! Do we understand each other? I said do we understand each other? (Harry nods) Okay, now listen up cop, I changed my mind. I'm going to let her die, I just wanted you to know that. You hear me? I just wanted you to know that before I killed you![laughs crazily] Goodbye, Callahan!"

"[in the hospital, with a battered face] They tried to frame me with the Deacon girl murder, and now they're trying to murder me — and look at me, just look at me. I'm supposed to be innocent until proven guilty and just look at what they did to me. Everywhere I go, cops follow me — and just look at me."

"[to a school bus driver] Hear me, you old hag, I'm telling you to drive or I'll decorate this bus with your brains."

"[in a note] To the City of San Francisco — You have double-crossed me for the last time. I'm warning you to have my $200,000 dollars and a jet airplane ready and waiting. I will call the Mayor's Office at one o'clock and tell you about the hostages who I will be happy to kill if you don't do exactly what I say. Scorpio."

"[last word to Callahan as he threatens to kill a young boy fishing] Drop the gun, creep! I'll blow his brains out! [chuckles evilly] Drop the fucking gun!"

"Mayor: The City of San Francisco does not pay criminals not to commit crimes. Instead, we pay a police department."

"Lt. Al Bressler: Just go where you're told, do what you're told, play it straight down the line ... Nothing cute, nothing fancy. Just pay the ransom money and report back here."

"Note: bolded portion is ranked #51 in the American Film Institute's list of the top 100 movie quotations in American cinema."

"Go ahead, make my day."

"Do you feel lucky, punk?"

"You don't assign him to murder cases - you just turn him loose."

"Detective Harry Callahan. He doesn't break murder cases - he smashes them."

"Dirty Harry and the homicidal maniac. Harry's the one with the badge."

"With his .44 Magnum, the most powerful handgun in the world, Dirty Harry wipes out crime to hell."

"Clint Eastwood is "Dirty Harry". And boy, does he get all the dirty jobs."

"Marvelous!"

"Clint Eastwood — Insp. Harry Callahan"

"Harry Guardino — Lt. Al Bressler"

"Reni Santoni — Insp. Chico Gonzalez"

"John Vernon — The Mayor"

"Andrew Robinson — Scorpio Killer"

"John Larch — The Chief"

"John Mitchum — Insp. Frank DiGiorgio"

"Ruth Kobart — Bus Driver"

"Woodrow Parfrey — Mr. Jaffe"

"Josef Sommer — Dist. Atty. William T. Rothko"

"William Paterson — Judge Bannerman"

"Curtis Mayfield — Thug who beats Scorpio (uncredited)"

"And this is the part of the inspiration of getting our little tits... into a cemetery. Something that we could be proud of, of saying, 'My little pet did his chore here - that God has sent him to us to do a chore - love and be loved and serve his master.' And, boy, these little pets that did that... Like I said before - death is for the living and not for the dead."

"I'm raised on a farm, we had chickens and pigs and cows and sheep and everything. But down here I've been lost. Now they've taken them all away from here up to that - What's the name of that place? Up above here a little ways? That town? Commences with a 'B.' Blue. It's - Blue Hill Cemetery, I think the name of it is. Not too far, I guess, about maybe twenty miles from here. A little town there, a little place. You know where it's at. But I was really surprised when I heard they were getting rid of the cemetery over here. Gonna put in buildings or something over there. Ah well, I know people been very good to me, you know. Well, they see my condition, I guess, must of felt sorry for me. But it's real, my condition is. It's not put on. That's for sure! Boy, if I could only walk. If I could only get out. Drive my car. I'd get another car. Ya... and my son, if he was only better to me. After I bought him that car. He's got a nice car. I bought it myself just a short time ago. I don't know. These kids - the more you do for them... He' s my grandson, but I raised him from two years old... I don't see him very often. And he just got the car. I didn't pay for all of it. I gave him four hundred dollars. Pretty good! His boss knows it. Well, he's not working for that outfit now. He's changed. He's gone back on his old job - hauling sand. No, not hauling sand; he's working in the office. That's right. He took over the office job. His boss told me that on the phone. But, you know, he should help me more. He's all I got. He's the one who brought me up here. And then put me here by myself among strangers. It's terrible, you stop and think of it. I've been without so much, when I first come up here. Ya. It's what half of my trouble is from - him not being home with me. Didn't cost him nothing to stay here. Every time he need money, he'd always come, 'Mom, can I have this? Can I have that?' But he never pays back. Too good, too easy - that's what everybody tells me. I quit now. I quit. Now he's got the office job, I'm going after him. I'm going after him good, too - if I have to go in... in a different way. He's going to pay that money. He's got the office job now. And he makes good money anyway. And he has no kids. He has not married. Never get married, he says. He was married once - they're divorced. Well, she tried to take him for the kid, but she didn't. They went to court. It was somebody else's kid. She was nothing but a tramp in the first place. I told him that. He wouldn't listen to me. I says, 'I know what she is.' I said, 'Richard, please, listen to me.' He wouldn't listen. He knew all, he knew everything. Big shot! But he soon found out. Now that's all over with. I've been through so much I don't know how I'm staying alive. Really, for my age... if you're young, it's different. But I've always said I'm never going to grow old. I've always had that, and the people that I tell how old I am, they don't believe me, because people my age as a rule don't get around like I do."

"I have to say to myself: What does it mean to me? What does this mean to me? What is it going to mean to me? I recognize this and - A couple of things when I was instructing motivation back in Salt Lake City is that if we don't stop and ask ourselves a question once in a while to probe our subconscious or to probe our conscious... I used to teach it. It's a plain, simple formula. We reduced everything to a formula, memorized it, and therefore we were able to repeat it constantly. I used to call it the R2-A2 formula: Recognize, Relate, Assimilate, and put into Action! Like, I could be driving down the freeway and see a 450 SL. I could say, 'Hey, I like that. What does that mean to me? What would I have to do to get it? How can I do it?' And then go to work for it. And strive for it. It kind of makes life easy. I think that's why a lot of people don't - They get frustrated. They have emotional problems, it's that they don't know how to cope with their - mind. There are three things that I've got to do and that if anybody wants to do to be successful, to have the desire, the want-to. Why do you go to work in the morning? Gee, why am I here? Because you want to. But that's obvious. And then the next very important ingredient is something that a lot of people and a lot of businesses fail to delge into. It's the activity knowledge. It would be the equation to a mathematical problem. It would be equal to the chemist's ability to emulsify chemicals - you know, properly, the valences. But the knowledge of it, the whole scope. Everything in detail. And then the third element would be, of course, the know-how or the experience. I have the inspiration to action. I don't have the activity knowledge, but I'm getting the know-how before I'm getting the activity knowledge. As a matter of fact, I'm getting more know-how than I'm getting activity knowledge. But they can be correlated together. They can be overlapped."

"[Gates of Heaven is] a film about hope - hope held by the loneliest people who have ever been on film."

"Every time I show this, it plays differently. Some people think it's about animals. Some people think it's about life and death. I've shown it to a group of bankers, who believe it raises all kinds of questions about success, about starting a small business. People think it's funny or sad or deadpan or satirical. They think that Errol Morris loved the people in the film, or that he was being very cruel to them. I've never yet had a person tell me that it's a bad film or a film that doesn't interest them.""

"From the beginning, I would always object when people would say, 'It's the pet-cemetery movie.' No, no, no, no! It's not about pet cemeteries. And the next question is always,'If it's not about pet cemeteries, what is it about?' Well, that's tricky! In essence, it embodies many of the ideas that are in every single film I've made. The obsession with language. Eye contact. An interest in accounts of subjective experience rather than objective reporting. The fundamental belief that if you scratch the surface of any person, you will find a world of the insane, very close to that surface."

"The first film I made, Gates of Heaven, was very much in reaction to a prevailing idea about how documentaries should be made. Namely, the idea of cinema verite, truth cinema. There was this idea that if you follow certain rules, if you shoot things in a certain way, then out pops the truth. The rules, themselves, are fairly straightforward. Shoot with a hand-held camera. Shoot with available light, become a fly-on-the-wall, observing but not observed in turn. And of course, try to be as unobtrusive as possible. It's one of those meat-grinder ideas. You put in the appropriate ingredients, and magically, truth results. To me, it's utter nonsense. Who could have ever made such a claim? On the basis of what? Does the font you use to print a sentence guarantee its truth or falsity? I think not. All of us get comfort - I can't speak for all of us, but my guess is the preponderant number of people in this room get a certain comfort from reading The New York Times. It's that familiar set of fonts that we're used to seeing every day, fonts which give us a certain level of comfort, a belief that what we're reading is true. I would submit that style doesn't guarantee truth. How could it possibly ever do such a thing? We may feel that the fonts are truth-telling fonts, but it's our uncritical reliance on a whole constellation of beliefs."

"You don't know where the US is standing after a State of the Union Address, but after seeing that film you will know. It's a film on a family behind all that [the pet cemeteries], with all their failures and all their dreams and all their dramas involved. And it's the only authentic film on love and emotion and late capitalism and maybe it's the only authentic film on loss of emotions and distortion of feelings and degeneration of feelings. It's a very, very sad film."

"I didn't make Gates of Heaven so that Werner Herzog would have to eat his shoe. It's not as if I decided to realize my potential as a human being in order to get somebody to ingest something distasteful. I specifically asked Werner not to eat his shoe."

"You... are... my lucky star."

"[after the Nostromo explodes, seemingly killing the Alien] I got you... you son of a bitch."

"[last lines in the film] Final report of the commercial starship Nostromo. Third Officer reporting. The other members of the crew - Kane, Lambert, Parker, Brett, Ash, and Captain Dallas - are dead. Cargo and ship destroyed. I should reach the frontier in about six weeks. With a little luck, the network will pick me up. This is Ripley, last survivor of the Nostromo, signing off. [to Jones, the ship's cat] Come on, cat."

"It's a robot! Ash is a goddamn robot!"

"[to Dallas] Oh, God! It's moving right towards you! Move! Get out of there!"

"In space no one can hear you scream."

"Sometimes the scariest things come from within."

"There are things so terrifying, they only exist in a nightmare...or outer space."

"A word of warning …"

"Top Secret - Science Officer's Eyes Only...Bring back life form. Priority One. All other considerations secondary. Crew expendable."

""The perfect organism. Its structural perfection is matched only by its hostility...its purity. A survivor - unclouded by conscience, remorse, or delusions of morality." ...Is there room enough in space for us and it?"

"Tom Skerritt – Dallas"

"Sigourney Weaver – Ripley"

"Veronica Cartwright – Lambert"

"Harry Dean Stanton – Brett"

"John Hurt – Kane"

"Ian Holm – Ash"

"Yaphet Kotto – Parker"

"Bolaji Badejo – Alien"

"Helen Horton – Mother"

"Alien is an expensively assembled science-fiction and horror shocker that’s being pushed hard by 20th Century Fox, and enough of it works on the gut-level of cheap thrills to justify the company’s high expectations. Alien has its problems [though]. Visual effects and shock moments aside, Scott seems ponderous about getting through simple plot mechanics that one of the old science-fiction films could have tossed off with workmanlike abandon. But for those who like this kind of film, he’s produced — in 70mm and Dolby sound — something like the equivalent of every amusement park ride rolled into one.”"

"[The] plot is simple in the extreme. Alien has almost no wit, no depth of character, no complexity of plot, no subtext of meaning. In the long run, that might prevent it from being a truly classic horror film. For the moment, however, that won’t matter. The immediate sensation of Alien is nerve-shattering terror, and on that level it works masterfully.”"

"I’m going to attack [the audience] sexually… I’m going to attack the men. I am going to put in every image I can think of to make the men in the audience cross their legs."

"Alien was green lit by 20th Century Fox after Star Wars proved just how lucrative science-fiction could be in 1977. The two films aren’t wholly different, either. Han Solo, a scruffy, self-centered mercenary, was one of sci-fi cinema’s first great working-class heroes, and his battered, lived-in spacecraft inspired Scott. “[Star Wars] influenced me when I did Alien,” he said later. “I thought I better push it a lot further, make [the aesthetic] feel a lot like truck driving.”"

"The sheer normality of these interstellar wage slaves is conveyed before we even see them. At the start of the film, the crew members of the Nostromo, a “commercial towing vehicle”, are snoozing in their suspended animation pods, but one of them has left a plastic drinking-bird ornament bobbing away on a table, and there is a coffee cup on a dashboard. Then, when the ship’s onboard computer wakes them, they don’t slip into form-fitting Starfleet uniforms and hurry to their posts: they shrug on their shapeless overalls, and then sit around eating and smoking while two blue-collar engineers, Parker (Yaphet Kotto) and Brett (Harry Dean Stanton), grouse about “the bonus situation”."

"No other horror or science-fiction film has captured the humdrum reality of doing a day’s work for a day’s pay with such accuracy. For that matter, perhaps no film of any genre has. There may be sitcoms that depict these everyday frustrations and interactions as deftly as Alien does. But in the cinema? The most authentic ever film about earning a living could well be the one with a giant, slimy, acid-blooded extra-terrestrial monster."

"Many, many years ago — back in 1985 — I wrote an episode of my comic strip where two women are talking to each other. They want to go see a movie and one woman says, "I'll only go to a movie if it satisfies three criteria." I have to confess, I stole this whole thing from a friend of mine at the time because I didn't have an idea for my strip. My friend Liz Wallace ... said, "I'll only see a movie if it has at least two women in it who talk to each other about something besides a man." That left very, very few movies in 1985. The only movie my friend could go see was Alien, because the two women talk to each other about the monster. But somehow young feminist film students found this old cartoon and resurrected it in the Internet era and now it's this weird thing. People actually use it to analyze films to see whether or not they pass that test. Still ... surprisingly few films actually pass it."

"Alien is another triumph of technology over art. It is also a horror movie set in space — and it just doesn’t work…. Scott does make a concession to feminism by casting Sigourney Weaver as the hero but he couldn’t resist a sexist jab at the end when, with no motivation, she removes her trousers.”"

"After 40 years, this sci-fi horror masterpiece still feels lethally contemporary. With screenwriters Dan O’Bannon and Ronald Shusett, Ridley Scott created an essay on the hell of other people, the vulnerability of our bodies, and the idea of space as a limitless new extension of human paranoia. Alien also functions as a nightmare [parody]] of the Apollo 11 moon-landing, which had happened just 10 years previously, and the biological weapons industry."

"Weaver begins the action looking girlish and serious, but changes into the toughly self-reliant woman who defined her subsequent roles. Her career evolves before our very eyes. Interestingly, the famous, heart-stopping moment where the alien embryo jumps out of the egg happens much more fleetingly than you might remember. Scott cuts away from it quickly, leaving the negative image impressed on our retina. Editors Terry Rawlings and Peter Weatherley cut the film so cleverly so that we never have a clear notion of what the alien actually looks like until the very last shots. The idea of it starting the size of a toad, then emerging the size of a bus with multiple rows of razor-teeth is skin-crawlingly horrible."

"The amount of academic work that has been written about Alien is phenomenal. But in a way that should not be surprising. The film contains themes about motherhood, gender politics, post-humanism, biology and so much else. Almost everything we can do in film studies we can do through Alien."

"Don’t race to it expecting the wit of Star Wars or the metaphysical pretensions of 2001 and Close Encounters of the Third Kind. At its best it recalls The Thing (from Another World), though the Howard Hawks film was both more imaginatively and more economically dramatized."

"A GIGANTIC construction moves serenely through space where, though the night never ends, there's always enough light to see strange objects. This one looks like the main set of D.W. Griffith's "Intolerance". It's as if Babylon had been cut loose from earth to sail back through space to its own time. In actual fact, it's the cargo-ship Nostromo on its return to earth at the end of an extended voyage to the far end of the galaxy. When we go inside, the ship appears to have been as suddenly deserted as the Mary Celeste. We wander down empty corridors into abandoned living quarters, into engine rooms and, finally, into the command room where the computers are the only signs of life. The interior of the ship is vast. It contains the kind of waste space one seldom sees anymore except in some rare old Manhattan pile like the Dakota. Something decidedly eerie is going on."

"Alien is an extremely small, rather decent movie of its modest kind, set inside a large, extremely fancy physical production. Don't race to it expecting the wit of "Star Wars" or the metaphysical pretentions of "2001" and "Close Encounters of the Third Kind." At its best it recalls "The Thing", though the Howard Hawks film was both more imaginatively and more economically dramatized."

"The horror genre, in any period, is one that you like, or leave distantly alone. The violence in Alien is less ’real’ than the shark-infested waters of Jaws. But telling yourself that these galactic goings-on are improbable nonsense is less effective than it should be in unclenching your fists or making your heart stop pounding. Surrender at all to Scott’s extraterrestrial make-believe and you are in for jolts, shocks and some fairly gruesome and shuddering sights."

"Much admiration is justly lavished on the exquisite Lovecraftian qualities of Giger’s designs, his creation of a monster whose various slime-dripping protuberances managed to be hideous, beautiful and unnervingly sexual all at once. It was Giger who gave Alien its vision. It was Scott, with just one feature (“The Duellists”) under his belt, who gave the movie its impact. To watch Alien now is to marvel at just how patient and stealthily elegant a picture it is, particularly in its first hour, with its creeping camera movements, hypnotic pacing and enveloping, womb-like sense of dread. Released today, it would no doubt feel like an art film among so many noisier, clunkier blockbusters. If Alien looks formally radical in retrospect, it was also thematically provocative in its moment: Here was a movie that turned on the audacious spectacle of a man being raped and impregnated and that gave us a (still) too-rare female action protagonist for the ages in Sigourney Weaver’s Ripley."

"The gender politics of Alien have been grist for endless deconstruction, although “Memory” does examine a few fresh wrinkles. Philippe unpacks the feminist dimension that links the movie to other 1979 releases as different as “Manhattan” and “Kramer vs. Kramer.” Elsewhere, his subjects discuss the Alien’s stature as a Fury, an extraterrestrial manifestation of a figure from Greek mythology, exacting retributive violence on behalf of the repressed feminine. Pointedly, Philippe begins the film with a shot of the Temple of Apollo ruins at Delphi and a dramatization of the Furies, played by a trio of actresses with a few creepy Giger-esque visual enhancements. It may seem like a curious point of entry, but it reinforces that Alien is timeless, in part because it brilliantly cross-pollinated so many of our most ancient and enduring myths. Its abiding respect for the past is what gave such shattering force to its vision of the future."

"Alien is such a great and groundbreaking film that no amount of redundant prequels and sequels will ever reduce its luminous majesty. It will always be there as a never-to-be-improved-upon metaphor for the icy despair and inhuman horror of deep space."

"Make no mistake about it — the gore, which is essential to this film’s effectiveness, is excessive enough to help earn the film the first ‘R’ rating given to any of the four recent sci-fi blockbusters. Any theater playing Alien may well consider building new wings on the restrooms to accommodate queasy patrons.”"

"The premise is simple: seven astronauts working on a battered cargo spacecraft, bring something back on to the ship after touching down on a strange planet, and the alien starts preying on them."

"The film was nominated for Best Art Direction at the Academy Award and won for Best Visual Effects. Anyone who has ever seen the notorious "chestburster" scene – which was inspired by Francis Bacon's 1944 painting [[w:Three Studies for Figures at the Base of a Crucifixion|Three Studies for Figures at the Base of a Crucifixion – will understand why Scott's special effects team, headed by Brian Johnson and Nick Allder, deserved to win."

"Ridley Scott’s 1979 thriller was greeted with no particular fanfare by the reviewers, and if there was a critical consensus it was that the film was at best watchable pabulum-reasonably professionally handled visually and enjoyably scary, but without significant nuance to qualify for discussion as art. Jack Kroll’s comment was typical: “It’s about time someone made a science fiction thriller that thrills, that has no truck with metaphysics, philosophy or theosophy and just boils everything down to the pure ravishingly vulgar essence of fright.” Aside from its manifest violence, the only aspect of Alien that attracted much critical fire was what one reviewer called its “gratuitous sexism.”True to a two hundred-year-old tradition of gothic horror, the film relies for its most gut-wrenching effects on the spectacle of a helpless beautiful woman threatened with violence by an unspeakable, inhuman, but quintessentially masculine horror. Significantly, one scene repeatedly mentioned as a “gratuitous” injection of voyeurism involves Sigourney Weaver’s stripping down to her underwear just prior to a final attac by the alien and her subsequent blasting of the creature into space and, presumably, oblivion. The implication seems to be that Alien was overall good, clean, horrible but simple-minded fun, and shouldn’t have been compromised by random intrusions of irrelevant sex. A close look at Alien, however, reveals that not only is sexuality not occasionally intrusive in an otherwise prestine film, but that sexual symbolism and iconography of a singular kind are pervasive throughout the film and may actually be its “leitmotif”. What Alien is about is gestation and birth. The sexuality of the film has strong reproductive overtones that distinguish it from the kind of garden variety titillation of most thrillers. The centrality of the birth process to the film is not hard to demonstrate."

"The 1979 film had married science fiction with horror in a way unseen since the ‘50s, reviving the monster genre, which had, for the most part, died out in the wake of Psycho’s ushering in of an era of more personal, intimate, human horror."

"Alien has proved an ideal text for academics, a deep well – or perhaps a totem pole – of Freudian allusion from which critics and theorists have drawn whatever they fancied. Since it was first released, every frame of the film has been pored over for meaning. James Cameron’s excellent sequel, Aliens, has been studied too. (The other films in the series, not so much.) Most of this attention has been occupied by the character of Sigourney Weaver’s Ellen Ripley and the Swiss artist HR Giger’s terrifying design for the alien, or “xenomorph”. But the androids, the spaceship, the uniforms and even the ship’s cat have come in for analysis. In 2019, the rise of the Alien-academic complex shows few signs of slowing down."

"In an interview looking back at the role, Weaver said: “The writers were especially smart in that they didn’t turn Ripley into a female character. She was just a character, a kind of Everyman, a young per-son who’s put in this extraordinary situation. Believe me, when we did [the sequels], I saw how hard it was to write a woman in a heroic, straight, unsentimental, authentic way.”"

"[Alien is] just an intergalactic haunted-house thriller."

"At its most fundamental level, Alien is a movie about things that can jump out of the dark and kill you. It shares a kinship with the shark in "Jaws," Michael Myers in "Halloween," and assorted spiders, snakes, tarantulas and stalkers. Its most obvious influence is Howard Hawks' "The Thing" (1951), which was also about a team in an isolated outpost who discover a long-dormant alien, bring it inside, and are picked off one by one as it haunts the corridors. Look at that movie, and you see Alien in embryo. In another way, Ridley Scott's 1979 movie is a great original. It builds on the seminal opening shot of "Star Wars" (1977), with its vast ship in lonely interstellar space, and sidesteps Lucas' space opera to tell a story in the genre of traditional "hard" science fiction; with its tough-talking crew members and their mercenary motives, the story would have found a home in John W. Campbell's Astounding Science Fiction during its nuts-and-bolts period in the 1940s. Campbell loved stories in which engineers and scientists, not space jockeys and ray-gun blasters, dealt with outer space in logical ways."

"One of the great strengths of Alien is its pacing. It takes its time. It waits. It allows silences (the majestic opening shots are underscored by Jerry Goldsmith with scarcely audible, far-off metallic chatterings). It suggests the enormity of the crew's discovery by building up to it with small steps: The interception of a signal (is it a warning or an SOS?). The descent to the extraterrestrial surface. The bitching by Brett and Parker, who are concerned only about collecting their shares. The masterstroke of the surface murk through which the crew members move, their helmet lights hardly penetrating the soup. The shadowy outline of the alien ship. The sight of the alien pilot, frozen in his command chair. The enormity of the discovery inside the ship ("It's full of ... leathery eggs ...")."

"Alien has been called the most influential of modern action pictures, and so it is, although Halloween also belongs on the list. Unfortunately, the films it influenced studied its thrills but not its thinking. We have now descended into a bog of Gotcha! movies in which various horrible beings spring on a series of victims, usually teenagers. The ultimate extension of the genre is the Geek Movie, illustrated by the remake of Texas Chainsaw Massacre, which essentially sets the audience the same test as an old-time carnival geek show: Now that you've paid your money, can you keep your eyes open while we disgust you? A few more ambitious and serious sci-fi films have also followed in the footsteps of Alien, notably the well-made Aliens (1986) and Dark City (1998). But the original still vibrates with a dark and frightening intensity."

"You’re going to be most appreciative of Alien in its most technically advantageous circumstances."

"It is easy to see that director Ridley Scott had hoped for a cast of Jane Fonda, Warren Beatty and Jim Brown, for the three principals, but settled for lookalikes Sigourney Weaver, Tom Skerritt and Yaphet Kotto. With only about 20 pages of script, it’s understandable why everyone is sulking and biting, even being obscene enough to give the movie an R rating."

"20th Century-Fox is rather superstitiously opening the picture on the same day that Star Wars opened two years ago, and in many of the same theaters, in hopes that box-office lightning can strike twice."

"Although the spaceship models look like they were patched together with Super Glue in your brother's basement, the majority of the 24-year-old movie holds up well. The production design in Alien was always among the movie's strongest points, and the bulky details (a motion detector the size of a leaf blower; spaceship monitors that look like Radio Shack TRS-80 computer screens) seem more industrial than quaint. Even with its horrifying villain and scenes of bloody excess, Alien endures as a superior piece of filmmaking, with a pace that's like watching an art film when compared to the over-the-top space operas in recent years."

"Time has been kind to Ridley’s Scott’s Alien since its release in 1979. What was initially regarded as a science fiction/horror genre work – albeit a superior one – now plays like an existential drama that just happens to take place in deep space. An example of what commercial cinema can aspire to, even on a limited budget, the film boasts an intelligent script, careful performances, clever visual effects and well-crafted sets. The titular alien, which was designed by Swiss artist H.R. Giger, and is only partially glimpsed throughout, remains the most elegantly vile creature to ever grace cinema screens."

"The film, of course, is loaded with innuendo; much has already been said about its phallic predilections, the reverse penetration, conflating consumption with food and sex. The crew of seven is hunted and devoured through air vents that open and close like orifices by a creature that is both biologically perverse yet undeniably industrial. There’s a very good reason why the final scare comes when Sigourney Weaver’s Ripley mistakes the alien for an innocuous wall of her escape shuttle. Teaming with artist H.R Giger and set decorator Ian Whittaker, Scott envelops viewers with a paralyzing fear of replacement, becoming expendable in favour of soulless mutations of machine and matter."

"This being my fourth or fifth viewing of Alien, I’m now able to communicate better what exactly it is that scares me about it so much. Moreso than awakening subconscious biological repulsions of the other, or inherently masculine sexual insecurities, the key is in realizing that the most frightening sequence is the revelation that Ash (an uncanny early performance from Ian Holm that wipes the floor with Michael Fassbender’s David) is an android. Any initial fears of a ravenous, acid-blooded carnivore with the deadly efficiency of a slaughterhouse are immediately trumped by the slow, unsettling drip of milky blood from Ash’s forehead. The creature, the mesh of flesh and artifice driven by inhuman consciousness, was, of course, onboard the whole time."

"Alien’s pairing of genuine, spine-tingling horror and thematic resonance put Ridley Scott on the map, and it’s frankly unfair that the masterful director was able to immediately follow-up with Blade Runner, another existential sci-fi classic. 40 years on, and it has remained one of his best, most invasive and obsessive films. It’s truly a testament that, despite Prometheus and Alien: Covenant’s irritating disposition to posit answers to questions never asked, every turned corner of that first nightmare invites mystery and intrigue. We still don’t really know where the aliens came from, and it’s for the best that we never find out."

"This scary tale of a monster stalking astronauts in deep space, made with no pretense to great art, has almost by accident become of one of the most influential films in history."

"Before Alien, big showdowns were always about the last man standing, not the last woman."

"The end of Alien (spoiler alert!) has Ripley facing down the monster aboard the escape shuttle she’s using to flee the doomed spaceship Nostromo. She plans to eject the parasite from an airlock, but before she does so, she risks her own life by first rescuing the ship’s pet cat, Jones. Author/screenwriter Blake Synder used this scene as a title and theme for his Save the Cat! series of manuals on successful screenplay structure. Snyder, who died in 2009, coined “save the cat” as the moment where a movie hero does something that wins audience affection and empathy. This could happen at any point in a movie. Saving the cat in Alien proved that Ripley had a heart, because she’s a steely cipher in the rest of the film."

"When we didn't make the picture, Dan O'Bannon needed to be interned in a mental institution for two years, suffering because we didn't get to do "Dune." And when he came out he wrote the script for Alien. Alien was the reaction to not doing "Dune." Who would believe that? But it's true!"

"Alien (1979): Directed by Ridley Scott. Starring Sigourney Weaver and Tom Skerritt. It’s Friday night. The sold-out theater is so packed, I have to sit in the last seat available in the front row. My parents, who had no problems taking me to R-rated movies, have to sit elsewhere. Then there’s that stunning scene where John Hurt is eating breakfast with his spaceship crewmates and goes into convulsions. Unbeknownst to me, my mother has somehow sneaked up behind me. In a masterpiece of timing, just as the creature pops out of Hurt’s stomach, my mother grabs my shoulder and goes “Bah!” I still have flashbacks. It’s the most scared I’ve ever been at the movies. The film’s tagline: “In space, no one can hear you scream.” In that theater, everyone heard me."

"[Alien] reached out, grabbed you, and squeezed your stomach it was more gripping than entertaining, but a lot of people didn’t mind. They thought it was terrific, because at least they’d felt something: they’d been brutalized.”"

"The austere minimalism of Ridley Scott’s Alien has kept it from becoming dated. Originally released in 1979, this “haunted house in outer space” scary movie still manages to spook audiences, though its infamous “chest-bursting” scene plays somewhat comic now, with the crew looking on aghast like a bunch of stooges. Best known for creating an atmosphere of dread through production design and art direction (the cavernous ship looks like a sci-fi variation of a dilapidated car garage) and, of course, H.R. Giger’s creature (all limbs and shiny black skin and protruding jaws—watch those teeth!), Alien may be the most artfully directed and well-acted slasher movie of all time."

"It was as stylish and thoughtful a space-horror film as has been made, a delightfully cerebral movie in which thrills and chills were accomplished less by the sight of evil than by its implication. The creature in Alien was an ugly little thing, to be sure, and had a disposition to match. But he never was able to dominate the film as he might possibly have one`s later dreams. In Alien, human beings--the ill-fated crew of the spaceship Nostromo--shared the front seat (and the driving) with special effects, and it was on that strength that the film became a memorable box-office smash."

"Alien begins slowly, with a methodical, restrained pace and some self-conscious interplay among its cast, but once the alien itself is introduced the movie takes as firm a hold as the alien does on its victims."

"This homicidal monster, which keeps changing shape, is designed to provoke nightmares, especially in one early scene in which it catapults itself into view, teeth bared. This scene should go down in the books as one of the most disgustingly horrifying moments in movies."

"No film I have seen in the last year or so, excluding perhaps The Deer Hunter, emanates so strong a whiff of palpable, nerve-straining shock. It is, in fact, an audience reaction picture par excellence. This explains, perhaps better than the colossal build-up, why everyone wants to see it. The public now seems to be sitting back in its seats and saying "Amaze me." Alien, above all others recently, can be relied upon to do just that. Yet it does so, oddly enough, with a story that is basically just a mixture of The Creature from the Black Lagoon and The Thing from Outer Space. A dozen other 50s-sounding titles spring to mind – well, 60s at any rate. The point is the added 70s proficiency. You won't see anything very original anywhere in the film, other than in the actual making of it. There, no holds are barred. Scott, a recruit from advertising, where instant atmospherics has to be the order of the day, manipulates his audience in a far stronger fashion than he managed with The Duellists. His combination of space fiction and horror story is no great shakes as a work of art. Artifice, however, it has in profusion."

"Some people call it a cruel, heartless and essentially exploitative opus. Something to gibber at, in fact. But Alien is not in the business of old-style family entertainment (which was, after all, often as warm and gooey as hot treacle, and about as nourishing). It bases its appeal on a different set of values. Not very enlightening ones, no doubt. But exactly in tune with much more cynical times. It deserves its success for gauging, and gorging, its audience so thoroughly. Technically a British film, it certainly shows how much talent we have in this country if only we had the courage to develop it ourselves. But that's another story, and a much less exciting one."

"Alien is a rape movie with male victims," explains David McIntee, author of the Alien study Beautiful Monsters. "And it also shows the consequences of that rape: the pregnancy and birth. It is a film that plays, very deliberately, with male fears of female reproduction." Does this make Alien a conservative film or a radical one? Over the years the debate has been teased out in either direction. In the opinion of the cultural critic Barbara Creed, for instance, Scott's film epitomized what she refers to as "the monstrous feminine". It trades in classic Freudian imagery (penis-shaped monsters; dark, womb-like interiors) and shudders at the bloody spectacle of childbirth. Here is a horror film made by men that exploits a particularly male fear of all that is female. Others beg to differ. Ripley, they argue, is the game-changer; the character that sends Alien (and its sequels) off in a bold new direction. "Ripley is pretty revolutionary," insists McIntee. "All of a sudden you have a horror film that has a younger female character who is a survivor and a heroine as opposed to a victim."

"Ridley Scott's 1979 film "is not just about people trying not to get eaten by a drooling monstrous animal," film critic David McIntee writes in Beautiful Monsters: The Unofficial and Unauthorised Guide to the Alien and Predator Films. "It's worse. It's about them trying not to get raped by a drooling monstrous animal.""

"20th Century Fox was certainly not seeking intellectual respectability when it began production of Alien in the 1970s. Its executives simply wanted to replicate the massive commercial success of Star Wars and plumped on a science fiction script that writer Dan O’Bannon had been shopping round Hollywood. Scott agreed to direct. Crucial to his approach to the film was the creation of a sense of intense claustrophobia on Nostromo which, he decided, should appear as if it had been drifting around space for eons. Its interior was constructed out of old plane parts while smoke was blown through the whole set to give the film a gritty appearance. Intellectual aspirations were never in his sights, Scott later recalled. All he wanted was to make “a straightforward riveting thriller”."

"It has scared generations of filmgoers; triggered sequels, prequels, computer games and graphic novels; and made a star of Sigourney Weaver. But most of all, the film Alien – which is about to celebrate the 40th anniversary of its first screening – has spawned an academic industry unsurpassed by any other film. Over the past four decades, dozens of books, hundreds of journal articles and innumerable college courses have analyzed, frame by frame, Ridley Scott’s story of a bloodthirsty creature stalking the crew of the spaceship Nostromo. No other film, not even The Godfather or Psycho, has generated quite that amount of attention."

"“It is quite astonishing how much academic work Alien has triggered and from such a wide range of approaches. For example, there are psychoanalytic analyses which stress the importance of the alien as a kind of all-consuming mother figure. The birth trauma of the alien erupting from Hurt’s innards also plays to Freudian interpretations of the film’s significance.” It is as good an example of Nietzsche’s idea of the will to power, the main driving force in existence – to survive and reproduce at all costs. Alien is intriguing when viewed from that philosophical perspective."

"The consensus about the first Alien was that no one had ever seen anything like it, except those of us who had. With its more lived-in, “2001: A Space Odyssey”-like attention to futuristic detail and S&M and bondage–inspired alien design by Swiss surrealist H.R. Giger, Alien was unique and an instant classic, adding the words “facehugger” and “chestburster” to the horror-movie lexicon. Scripted by Dan O’Bannon (“Dark Star”) and Ronald Shusett (Aliens), Alien tells the simple tale of a terrifying and deadly alien creature (played by slender, 7-foot-2-inch London design student Bolaji Badejo in an elaborate, tight-fitting suit) on the loose inside the outer-space “commercial towing vehicle” Nostromo. Alien was, like “Jaws” (1975) and “Star Wars” (1977), another case of a B-movie concept getting the A-list treatment from a visionary young director. Indeed, the Alien screenplay was pitched to studios as “Jaws in space.”"

"With its death’s head “face,” phallus-shaped skull and snapping, slavering jaws-within-jaws, the Giger-designed Alien was unlike anything the movie-going public had ever seen. Like the mummy, Frankenstein monster, King Kong and Godzilla, the Alien creature has long since been admitted into the pantheon of greatest movie monsters of all time."

"Sci-fi classic Alien is really two movies. The first is a drama about work, labor issues, contracts, company rules, and so on; the second is just a horror film. In fact, one can see the unresolved management/labor problems in the first part of the film as being transmogrified into a monster that destroys the mining spaceship (the Nostromo) in the second part. From a wider historical perspective, the 1970s marked the end of an economic order that began at the end of the 1940s and witnessed the rise of unionized labor in the United States (this, in the film, is exemplified by the working-class characters on the spaceship factory—the late Harry Dean Stanton and the still kicking it Yaphet Kotto). The 1980s, on the other hand, marked the beginning of an economic order that transferred a massive amount of power to supermanagers. We have not left the 1980s to this day, which is why this film is still relevant."

"When I was 10 years old, I read in a newspaper that a new film called Alien was so terrifying that people were not only fainting out of fear during screenings but also taken out of the theater on stretchers. I badly wanted to see this movie: one that was so terrifying it could send a person to the emergency room."

"Yes, these films take place in outer space, so light is minimal. But Alien made distinct use of darkness, hiding its monster in the ship’s bowels, down dim corridors and inside caves. The original poster for Alien made the darkness a selling point, with a cracked egglike figure oozing green on a black background and the frightening tag line: “In space no one can hear you scream.” Much of Alien: Covenant is on the lowlight spectrum, too, with no way to know just where, or how many, threats lurk. Another film with Alien DNA referenced the darkness motif outright: Pitch Black, from (2000), which starred a rising Vin Diesel. After crashing, the passengers of a ship find themselves stranded on a planet full of E.T.s that attack in the dark. When an eclipse comes, so does terror."

"Twentieth Century Fox has spent the annual budget of several emerging nations to fashion a zillion-dollar Tunnel of Screams where you ride through the dark, past various waxy things that leap out of the wall at regular intervals and boo! Or rather, bleah! In Alien you're never quite scared - just queasy. For nothing occurs between the Scary Parts but mumbly crew members chatting it up with that gabby control panel. Even an old ghost story has more than ghosts. Alien skips the story. There's nothing to lead you on, to try to trick you and make it seem like it's all happening to real people. The crew is just part of the hardware fright-meters who register shock; the warmest thing aboard is a cat. You can't imagine being stranded out there in space - helpless - the way you could in, say, that old haunted New York apartment in "Rosemary's Baby" or upstairs in a Georgetown brownstone in "The Exorcist," or in the ocean at Martha's Vineyard in "Jaws." A problem with Alien is that, out there in some vast dreary nth dimension, anything goes. It's too darn easy to haunt a cosmos."

"Any amount of symbolism and sociological messages can easily be intellectualized in Alien. There is a whole routine about science, for instance, that is compelling and intriguing. But I leave such considerations to others for now and give fair warning: When going on intergalactic travel, always be sure to take a cat. It may prove a friend.”"

"When the first Alien came out in 1979, promising and delivering screams in space that no one could hear, more than a few critics and regular humans called it a relentless, hard-driving thrill machine. In retrospect it resembles a movie with the patience of Job, taking its sweet, stealthy time before arriving at one of the great moments in the history of extreme cinematic gore. You know the scene, probably. There's John Hurt, an actor whose face always seemed halfway to crestfallen even when he didn't have anything to worry about, sitting around the spacecraft galley, having a jolly meal with his crew aboard the Nostromo. He doesn't realize the steroidal tapeworm inside him, gestating, awaits the right moment to burst forth from Hurt's chest and commence the cat-and-mouse franchise spanning two centuries and counting. That monster has been chasing director Ridley Scott ever since."

"Ridley Scott has given us a chilling and brilliantly rendered antidote to swashbuckling space heroes and amiable robots. This is the best horror film to reach the screen since The Omen and a landmark piece of science fiction that looks back to the ’50s tradition of malevolent aliens.”"

"Alien (like other 1970s films such as Jaws, Superman, Close Encounters of the Third Kind, The Godfather, and Star Wars) was a seminal landmark in the upgrade of shopworn B-movie clichés — monsters, comic book characters, flying saucers, gangsters, Saturday afternoon serials — into major A-movie assets.”"

"In the days of Blade Runner and Alien, there were what I would call matte paintings. We did pretty well with those paintings with Blade Runner, but when you look at them today you can see the seams. In those days, it was good enough, and digital effects didn’t exist. To do Alien, I literally had to have a guy in a black rubber suit. That’s why the film is like Jaws, where you don’t see much of the shark, and you don’t really want to look that closely. In Alien, the scariest of all the films in that series, you don’t see much of the monster, mostly because I was so limited in what I could do."

"Mr. Scott said that when he first read the Alien script, by Dan O’Bannon, “it was frankly what I would call a very well-written B-movie. And we carried it out in an ‘A’ way with a terrific cast and a fantastic monster.”"

"I think Alien captured our most primordial fears. It’s particularly special because it’s not gilded with any characterization other than what you see is what you get — minute by minute with these people. That’s really why a lot of people were scared to death. It’s because they are living in it, minute by minute, and eventually, second by second."

"Alien screenwriter Dan O'Bannon has gone on record to say he used Giger's design motifs to force male audience members to reflect on the effect of sexual violence; he wanted to force male audiences to understand and experience the visceral horror of rape and sexual assault."

"On an intuitive level, Giger understood how humans express themselves in sexual terms; how it's rarely far from our minds, and how we attribute all kinds of positive emotions with the enjoyment of sex and its capacity for new life. Alien took something we're conditioned to view as wholly beautiful, joyous and celebratory—and twisted it into a nightmare."

"Alien is a corker, a walloper, a rouser, a screecher and a ton of fun. If all movies were as thrilling I would happily spend all of my life in the movies."

"Alien is mostly in the business of thrills, and on that level it did provide more than a few. I looked away from the screen during its most gory scenes. Even more enjoyable, though, was watching the film debut of an actress who should become a major star, Sigourney Weaver (she probably changed her name from Alice) makes an auspicious debut as one of the sturdiest crew members.”"

"When Academy Award-winning Swiss artist H.R. Giger passed away on Monday, he left behind, among his endless menagerie of horrors across a wide array of media, including painting, film, sculpture, and music, one of the most unique depictions of alien life ever put to screen. The titular alien, heretofore referred to as the Xenomorph, from Ridley Scott's 1979 science fiction horror classic, wasn't inspired by the stars. Instead it came from deep within mankind (sorry John Hurt) and somehow developed into something more alien and terrifying than anything from the unknown."

"Famed science-fiction screenwriter Dan O'Bannon (Total Recall, Dark star) and Ronald Shusett, who wrote the original draft of Alien, wanted to make a movie about interspecies rape. The script called for a creature that, after impregnating one crew member on the space freighter, The Nostromo, would go on to force itself on the rest of the crew. For that, they needed a creature that reflected not the best that life in the known universe had to offer, but the worst."

"Alien is only the second feature for director Ridley Scott, but it should establish the young Briton as a major filmmaker. And if there’s any justice, it will cause a scramble to book The Duellists, Scott’s over-looked first film.”"

"In the wake of the huge commercial success of Alien, almost all attention has perversely focused on the provenance of the script (was it a rip-off of It, the Terror from Beyond Space? Of Van Vogt's fiction? Was former John Carpenter collaborator Dan O'Bannon sold out by producers Walter Hill and David Giler's rewrites?). But the limited strengths of its staple sci-fi horrors - crew of commercial spacecraft menaced by stowaway monster - always derived from either the offhand organic/ Freudian resonances of its design or the purely (brilliantly) manipulative editing and pacing of its above-average shock quota. Intimations of a big-budget Dark Star fade early, and notions of Weaver as a Hawksian woman rarely develop beyond her resourceful reaction to jeopardy. At least Scott has no time to dawdle over redundant futuristic effects in the fashion that scuttles his later Blade Runner."

"The price paid for the excitement, and it’s a small one, is very little involvement with the characters themselves. But it really doesn’t matter when the screaming starts. In contrast to the glamorous, adventurous outer-space life often depicted in sci-fi, Alien initially presents a mundane commercial spacecraft with crew members like Yaphet Kotto bitching and moaning about wages and working conditions."

"For those unfamiliar with film, Alien follows the unlucky crew of the Nostromo, a space barge of sorts that picks up what seems to be a distress signal from a nearby planet. After investigating, the crew members find an otherworldly craft on the surface, and one poor fellow (John Hurt) picks up an alien parasite that attaches itself to his face, making him a host to something infinitely worse — a hostile beast that begins picking them off one by one."

"Ridley Scott’s original, 1979’s Alien, is a deeply complex monster movie but it wasn’t the first movie to suggest multinational corporations were a danger to individuality. The late Ned Beatty’s explosive cameo in Paddy Chayefsky’s 1976 nightmare-ish TV news satire Network is a memorable monologue about corporate power replacing the state. Even a hokey, if still entertaining, junk sci-fi flick like 1975’s Rollerball starring James Caan knew that the future belonged to fat cats, not presidents. These movies, all of them almost fifty years old, are also blatantly political. In Alien, the real monsters are the executives who see the humans who work for them as disposable. I don’t think there’s a better encapsulation of modern capitalism."

"It is disingenuous for Rubin to somehow suggest Alien is just a movie about humans being chased by a deadly extra-terrestrial. There isn’t any subtext in Alien. The company is evil, full-stop."

"I was really lucky getting the part of Ripley because it took my career down a much less conventional route than I had thought I had wanted. I had dreamt of being mostly a stage actor, which was the kind of career my mother had. Shakespeare and all that. I think what helped was that I wasn't falling over backwards to get the role. I thought, 'Right, I'm going to be chased around the room by this big blob of Jell-O.' And there wasn't anything startling or original about the script. It's basically Ten Little Indians. Then I met Ridley and he was a madman in a wonderful way. When I saw the set design I realized this was going to be fabulous."

"Thirty-five years ago, when Weaver was cast in a sci-fi horror movie — with a little-known commercial director named Ridley Scott at the helm — Weaver would never have predicted that she'd be talking about the film in the far-flung future of 2014. "(Before I saw the designs,) I pictured this big blob of yellow gel rumbling around," she said. "At the first meeting with Ridley, he pulled out all these beautiful big drawings H.R. Giger had done. He's one of the main reasons we're still here talking about this film. ...I wanted to be part of whatever that was because I had never seen anything like that on the screen before."

"It really is not the traditional kind of space adventure where you have a hero and a sidekick and a damsel in distress. In this case they’ve transformed that. I think in some ways that comes out of the moment in the 1970s when there is a turn toward the more dystopian."

"The mother of all action heroines is Ellen Ripley, the character played by Sigourney Weaver in Ridley Scott's 1979 sci-fi classic Alien. Ripley was no superwoman - just a capable crew member on a space barge that was invaded by a maternal monster who laid eggs inside humans. Ripley was a survivor, but in James Cameron's subsequent sequel, she morphed into an avenger, with more overtly violent tendencies and a surrogate daughter to protect."

"The plot wasn't new even when the film was first released. With its hook of a seven-member, multicultural spaceship crew running afoul of a ravenous space alien who gets aboard their ship and kills them, one by one, it suggests a mix of Stanley Kubrick's "2001," Howard Hawks' "The Thing" and every monster movie since "Frankenstein." But the look of the film was new. Few science-fiction movies are as cold, as full of cavernous space, angst and horrific beings. The original Alien is a work of popular entertainment and movie art in which the makers took the "art' as seriously as the entertainment."

"Alien was released a year after Carpenter's Halloween and it altered the landscape of high-budget studio horror as irrevocably as Halloween changed cheapo horror. Alien was a classy picture with classy people -- both Scott and Holm were later knighted -- but it was also gruesome, awful. "In space, no one can hear you scream," ran the original ad line; like Poole and Bowman in "2001," these astronauts are at the mercy of their ship, and even their computer, as well as the alien."

"The look of Alien remains fabulous: a cross between the elegant austerity of 2001 and the raw funk of Dark Star and other low-budgeters. The sets are dazzling and macabre. The characters are both archetypal -- even slightly cliched -- and cipherlike. Being trapped on those sets, with those people, still imparts a creepy chill. There have been three other Aliens since, by directors James Cameron, David Fincher and Jean-Pierre Jeunet, but though all have their points, none is as relentless as this. Weaver was never quite as sexy, vulnerable or compelling. And though they kept trying and repeating, none had an alien this gruesomely, shatteringly awry and unexpected. When it jumped, or when it jumps now, so do we."

"Alien opens on a disarmingly restful note, with establishing shots of a majestic spaceship in which we first discover the seven crew members slumbering away the long voyage home in "hyper-sleep." But the serenity soon fades as British director Ridley Scott and his collaborators build and sustain a brilliant nightmarish tension. Crew and spectators alike are kept in a state of hyper-apprehension, anticipating the sudden, deadly reappearance of a monstrous alien organism one of the most bizarre and vicious creatures ever to spring from the shadows of a movie set."

"Alien is a stylish update on the tradition of '50s science-fiction monster thrillers like The Thing or Forbidden Planet. Alien may seem no more ingenious or frightening than those films did at first sight, but it enhances their durable fear mechanisms with the latest refinements in special-effects artistry, space-age scenic design, sophisticated pictorial atmosphere, tantalization and dynamism. It is certain to take a respected place along the classics of cinematic suspense and horror."

"The monster in Alien variously recalls the shark in Jaws (film), the demon in The Exorcist, the pods in Invasion of the Body Snatchers and even the benign extraterrestrials of Close Encounters. But the most terrifying adaptation is the mouth: as it grows in both size and ferocity, the infernal beast, conceived by Giger and realized by several visual effects designers, flashes not only jaws but jaws within jaws. After the first shocking, snarling show of teeth, all that's necessary to provoke our self-torment is the buildup of suspense, which Scott orchestrates with masterful visual and rhythmic command and the startling emergence of fragmentary features from some border or background of the image. Alien is scary enough to create a sensation and justify taking the "R" rating seriously, especially for young children. Yet, it is graphically restrained and subtly abstracted compared to the excesses of The Exorcist or Dawn of the Dead. There are two spectacular gruesome passages, but even here the horror concept is at least as frightening as the depiction. Scott has opted for the minimum effective gruesomeness, given the circumstances and current standards in trick-effect traumatization."

"I left Alien feeling contentedly manipulated, but not in an unparalleled entertaining panic. The monster’s one blood-spattered attack will probably become the most talked-about sequence in Alien. The climactic episodes are a rather more impressive cinematic achievement.”"

"Alien is all about “the dark side of technology, of science,” says David J. Skal, author of “The Monster Show: A Cultural History of Horror.” “Despite all the things we’re told that will make the future a better place, what happens in Alien is our worst nightmare.” That’s exactly what Dan O’Bannon was thinking when he set out to write what he calls “a scary spaceship movie” in the mid-1970s. Influenced by 1950s sci-fi films like “The Thing,” O’Bannon was determined to make a “monster thriller about a monster from outer space, done with the style and technology that had accumulated since the 1950s.” This merger of horror and science fiction proved extremely fortuitous. There had been plenty of monsters in movies before Alien, but mostly they had been of the “man in a rubber suit” variety. Thanks to the creepy vision of Swiss artist H.R. Giger, the extraterrestrial monster in Scott’s film, with its insect-like body, acidic blood and knife-sharp teeth, was truly nightmarish."

"“The H.R. Giger alien was like nothing you’d ever seen before,” says Gordon Van Gelder, editor of Fantasy & Science Fiction magazine. “ Alien was the first film that put the splatter element into a sci-fi context.” “The monster is skeletal, it’s mechanical, it’s insect-like,” Skal says. “It’s all of this stuff hitting you at once, and it’s bound to elicit a response from the viewer.” Thanks in part to an innovative marketing campaign -- the tagline “In space, no one can hear you scream” might be one the best ever devised -- that response translated into a $79-million domestic box-office gross (huge for the time), three sequels and stardom for Sigourney Weaver, whose sexy but no-nonsense Ripley became a template for all subsequent female action heroes. And the film itself became a model of sorts. Take a sexually and racially diverse crew; place them in an out-of-the-way space station, planet or underwater research facility; then have them menaced by a horrific creature until there is only one man, or woman, left standing -- “Leviathan,” “Deep Blue,” “Event Horizon,” “Pitch Black,” “Screamers,” the list of films seems to go on endlessly, and in a sense, that’s the problem."

"“It’s an impossible nightmare, this fusion of technology and vermin, death and sex,” he says. “It goes back to what monsters are: They’re always a fusion of contradictory aspects. They’re things that don’t exist and can’t exist, but they work on a dream level; they capture our imaginations.”"

"Forty years after its release, Ridley Scott’s 1979 chiller is rightly regarded as a sci-fi horror classic. It has aged beautifully – its industrial yet futuristic production aesthetic retains a cutting-edge realism, H.R Giger’s creature and ship designs are unsettling yet perversely beautiful and Dan O’Bannon’s naturalistic dialogue is memorably understated. Alien’s pervading, gloomy atmosphere and sense of lonely terror ensure it remains a touchstone in haunted house cinema. As in other genuinely frightening films, less is more: by cutting his camera away early, Scott leaves much in the minds of audiences. We fill in the blanks by conjuring up nightmarish thoughts and images. Much commentary on Scott’s film justifiably focuses on the film’s technical achievements – direction, cinematography, music and the fearsome alien creature. What’s less remarked upon is how its tension is amplified by Alien’s realism, its sense of everyday life turned upside-down. Yes, this is science fiction and this is outer space, but Alien feels real."

"Although we’re far into the future and far from Earth, the film feels palpably naturalistic and relatable, which makes the ensuing horror even more disturbing. By presenting engineers, technicians and navigators – regular, blue-collar workers complete with hierarchical and contractual disputes – audiences more easily engage with the story. This is something that Lachlan Walter argues in his article ‘Apocalypse Soon-Ish: Blue-Collar Science Fiction and the ‘Ordinary’ Worker As Hero’:"

"Impeccable directing, acting and music aside, Alien’s ‘look’ is perhaps its most memorable feature. While otherworldly, surrealistic art may seem a far cry from workers and realism, it’s worth emphasizing again that were it not for Alien’s remarkable visual style and unshowy presentation of employment in space, the film’s impact and enduring qualities would be much diminished."

"Responsible for designing the seductive yet deadly alien, the insectile ‘face-hugger’ creature and the forebodingly derelict alien ship was Swiss surrealist artist, Hans Ruedi (H.R) Giger. Much like in the ‘body horror’ films of David Cronenberg, such as Videodrome (1983) and The Fly (1986), Giger fuses human and machine, with his sleekly imagined biomechanical mash-ups of bone and metal resulting in images that take on a kind of disordered symmetry. Giger also designed the surface of LV-426, a sunless, boulder strewn, god-forsaken planet where brutal winds never stop blowing and jagged rocky outcrops, almost phallic in appearance, punctuate the landscape."

"Alien’s visual centrepiece is the alien itself, inspired by Giger’s 1976 print Necronom IV. It’s a truly hideous creature, replete with a long, smooth phallic skull, a set of razor-sharp teeth and a second set of pharyngeal jaws similar to those of an eel, which shoot out, stabbing and penetrating flesh. The creature also appears to have no eyes, but we know it sees, and its gender is never revealed, though it displays both male and female characteristics. The creature’s hands are monstrous and dragon-like, with long fingers and claws, but its body resembles the cross-section of some complex industrial machine, with human-like ribs lying externally over a mass of coils, springs and what look like hydraulic mechanisms."

"Areas of the Nostromo are reminiscent of various blue-collar workplaces, a counterpoint to the sleek spaceships imagined in much science fiction before Alien. In his article ‘The set design of Ridley Scott’s Alien, Christopher Aguiar explains that this approach had rarely been seen in science fiction before 1979, which adds to the quality of trepidation: “Fear is built largely from the camera prowling around the empty spaces of the Nostromo ship – a battered, truly ugly spacecraft, unlike the Death Star or USS Enterprise… instead of being outside and exploring the world as sci-fi often wants us to do, we’re largely stuck inside the rundown, twisted corridors of a ship. That immediately works as a way of Scott installing fear and uneasiness.”"

"Sci-fi cinema has a long history of ruthless and evil corporations, including the Tyrell Corporation in Scott’s subsequent Blade Runner (1982), Cyberdyne Systems in the Terminator films (1984-), Omni Consumer Products in RoboCop (1987) and the Soylent Corporation in Soylent Green (1973). The interests of these conglomerates, often inspired by real-life organisations, lie entirely in profit, operating with a total indifference towards the welfare of their employees. The companies at the heart of blue-collar science fiction such as Alien, Moon and Outland are similarly ruthless. Viewers watching Alien 40 years later may have little trouble recognizing the practices of the Weyland-Yutani Corporation; the way it controls its poorer workers with unfair and dangerous working conditions. Grounded in Scott’s gritty, blue-collar vision, it all seems both credible and familiar. As in 1979, 2019 and so in 2122, money is the ultimate goal, not worker’s rights or their well-being."

"Its plot is a kind of nightmarish allegory for the socially conservative backlash, in which a gender-egalitarian and sexually liberated future is torn apart by a monster whose only concern is impregnating everyone against their will. The gender politics of Alien are shockingly progressive, even now."

"Alien is a movie about the tyranny of the body over the self. Culture and technology allow us some degree of reproductive and sexual agency. Alien is about how terrifying it feels to have all that agency stripped away by something that defines you purely by your body — how it feels to be turned from an adult human being to a fleshy vessel that can be used to host and birth someone else’s young."

"In 1979, we had the luxury of imagining the Xenomorph as something fundamentally estranged from humanity. It is, as Ash says, a being comprised of pure reproductive instinct, with no culture or intellect to get in the way of its drive to propagate the species: “A survivor, unclouded by conscience, remorse, or delusions of morality.” Yet today, it’s precisely those conservative “delusions of morality” that are forcing people to live in bodies and lives they haven’t chosen and don’t want."

"Culture, technology, medicine — all the tools that help us to live in our bodies while retaining autonomy and agency over them — are not only necessary, they’re what make us human. Alien rings true for us, 40 years later, because it understands that truth. It shows us that brute, mindless animal existence — a life concerned only with making more babies, no matter the cost — is hideous, horrifying, and destructive."

"What is it about Alien that gets under our skin? Scott’s film pursues an astronaut crew hunted by an alien life form aboard their spaceship. It’s interwoven with endlessly interpretable themes: artificial intelligence, desire, rape, fear of the unknown. But the alien’s ruthless biological imperative to reproduce is the film’s masterstroke."

"On planet earth, predators hunt their prey to consume them. Alien deviates from this evolutionary food chain – the creature is more interested in impregnating humans as carriers for its biological spawn. Scott’s film evokes primal horror of violation and sexual perversion; it’s no accident that the alien itself is so phallic."

"In the original script, characters’ genders were explicitly interchangeable. This was a distinctly unusual feature for a sci-fi script at the time, and meant that the lead Ellen Ripley, the now iconic female action hero played by Sigourney Weaver, was never initially conceived of as a woman at all. This might explain why her behaviour doesn’t conform to the sexist stereotypes rife in 1970s filmmaking. Weaver also told the Independent in 2012 that Ripley was an expression of 1970s feminist insurgency: “Women were agitating to be in the army, to work in warehouses and as truck drivers.” Other than making room for a powerful female lead for the film, the gender-neutral script underlines something crucial about Alien’s horror: all human life is at threat. Audiences were already familiar with women as the targets of sexual assault, but Alien brought a new horror into the mainstream, a truly inhuman sexual attacker indiscriminate about its targets."

"When the BBFC were deciding how to rate the film in 1979, they gave it an X (18) certificate for depicting “a perverse view of sexual function” which runs “like a dark undercurrent” throughout. As we follow Ripley fleeing through the ship’s labyrinthine tunnels, we can imagine the alien’s desire."

"The 40th-anniversary reissue of Alien this month feels timely. While other sci-fi classics like Blade Runner or the Star Wars films showcase technological advances of a coming space age, the vision of the future seen in Alien is one focused on a primal fear that predates technology. The future, Alien asks us to imagine, might not look so different from the present: rape and sexual violence might be more of a threat, not less. Our contemporary cultural landscape is in-comparable to that of the 1970s, and today we are far more aware of the insidious nature of sexual violence. What enables Alien to endure 40 years on is how it suggests men, as well as women, should fear rape. Sexual assault is not limited to female bodies. If Alien makes one thing plain, it is that everybody, regardless of their gender, suffers if sexual violence is allowed to take place unopposed – a message that will be appreciated in 2019 perhaps more than ever."

"With no consideration given at this point to the ideas generated by the film's narrative, I assure anyone with the slightest affection for the SF genre that it's worth its admission price simply for the intelligence and audacity of its look."

"It melds the American-pragmatic form-as-function look of "2001" with the European fantasist influence of artists whose work appears in the upscale-head-comic magazine Heavy Metal. The spaceship in which most of the film takes place is a humble freighter, and it looks used. The crew has humanized it with toys, wind chimes, a cat, and non-company-issued clothing. The outside of the spaceship is standard-issue count-the-rivets Star Wars. But the space suits are based upon 15th-century Japanese samurai warriors. And the dead race which once lived within the alien planet upon which the ship lands created works of engineering which appear made of organic matter. The first half-hour of the film, before we settle in the space-freighter interior for the rest of the evening, is one breathtaking visual effect after another."

"A warning: Despite the state-of-the-art visual effects and Scott's remarkably comprehensive use of the syntax of film, Scott seeks to entertain you by the brutally primal tactic of reaching into your gut and squeezing your adrenal gland: There's an awful thingie there in the dark, and it gets people, and you have to watch it as it does. The filmmakers have come up with some images that are sheerest nightmare. The film earns its shudders honestly: Scott is too talented to need gratuitousness as an aid. We are repelled more by the idea of what's happening than by simple excess of repellent images. Still, even while you acknowledge that the filmmakers are scrupulous, sitting with your arms wrapped around your head because you can't watch the screen may not be your idea of a good time."

"Alien is such a startlingly well-made film that it seems the height of something -- malcontentedness, I guess -- to complain even in low tones about its objectives. Inarguably, the filmmakers achieve their objective entirely -- they make us leave the theater reeling."

"Is it critical overreaching to ask that Scott had been more ambitious? Probably. You never want more from bad films, though. You just want out. Good ones, as they satisfy appetites, often create fresh hungers. But the movie Scott wants to make -- as opposed to the one I'd preferred he made -- works. Wow, does it work. If you leave the theater with your nerves unjangled, you arrived in a coma."

"Few scenes in cinema are as etched in the popular mind as the moment in Alien when a phallic-shaped metal-toothed creature bursts bloodily from the chest of Kane (John Hurt), a crewman aboard the intergalactic mining ship Nostromo, before scuttling off to lurk and grow and begin killing Kane’s crewmates one-by-one. For those who saw it at the cinema in 1979, the world was split in two: the time before the chest burster and the time after. Movies would never be the same. Science-fiction had found its darkest expression. Horror had a new name – the shape-shifting, acid-dripping, all-consuming creature that fans soon labelled the xenomorph, as far from the benign bug-eyed presence of ET as it was possible to imagine. The film spawned a franchise – three more Alien films, two Alien vs Predator spin-offs, and Ridley Scott’s more recent prequels, Prometheus and Alien Covenant – that have collectively earned more than $US1.5 billion ($A2.2 billion) at the box office, and a whole lot more on video, DVD, Blu-Ray and digital platforms. It has spawned PhD theses and endless discussion and riffs in popular culture. Earlier this year, it even spawned a high-school theatre version."

"We live now in a culture saturated in filmed images, but very little of it ascends to the level of shared experience, says Philippe. Game of Thrones was an exception, “but there are very few now that have these moments – like the chest-burster, like the Psycho shower scene – that completely traumatize a generation. They are very rare.” Philippe – who was born in Switzerland but moved to the US 26 years ago with dreams of becoming a professional golfer – is fascinated by these cut-through moments. His last film was 78/52, a forensic examination of the 78 seconds and 52 cuts that comprise the shower scene from Alfred Hitchcock’s Psycho. His next – which he was about to take to the Venice Film Festival when we spoke earlier this week – is a meditation on The Exorcist. What he sees in these films is an expression not just of their makers’ intentions and talents, but of something far greater – our collective unconscious at play. “There are certain movies that become phenomena because they express ideas that we need to see in our culture at a particular time,” he says. “And rarely are we actually conscious of the fact that we need to see those ideas being expressed.”"

"“I’m very interested in the idea of coincidence versus fate,” says Philippe. “The way I see it, nothing is ever completely coincidental and nothing is ever completely fated. Coincidence can become fate. “You could argue that it is audiences that willed Alien to life,” he continues. “Had Dan O’Bannon, Ridley Scott and HR Giger not been on the frequency for that myth, someone else would have had to be. When you look at the number of coincidences that happened for Alien to be Alien you have to wonder if there were greater forces at work.” The thing that most desperately needed to be expressed, he argues, was a challenge to the “patriarchal imbalance”. Kane’s “rape” by the alien – by the face hugger that latches onto his face and inserts its egg via a tube shoved down his throat – and the shocking experience of “birthing” the alien through his chest “jolted people into a feeling of unease”, he says. “There were things that happen to women that were suddenly transposed to Kane,” he continues. “I don’t think that was being processed consciously – I don’t think the studio was thinking, ‘Oh yeah, here’s $11 million, go make a male-rape movie in space’. I don’t believe O’Bannon, Giger and Scott were thinking along those lines either.” But they were images and ideas that we needed to see in order to deal with the underlying tensions in our culture, he believes. “What makes Alien so amazing is that it took 40 years for society to process and to start having a dialogue about those images and ideas,” he adds. “Alien is, in a way, much more contemporary today than it was 40 years ago.”"

"“The birth of the alien from Kane’s stomach plays on what Freud described as a common misunderstanding that many children have about birth, that is, that the mother is somehow impregnated through the mouth,” determined Barbara Creed, professor of Screen Studies at the University of Melbourne, in “Horror and the Monstrous Feminine: An Imaginary Abjection” (Screen, Vol. 27, 1986), just one of hundreds of academic theses spawned by Scott’s 1979 shocker and its sequels. Academics have always loved science fiction, of course. No film studies syllabus is complete without an invitation to parse alien-invasion B-movies from the ‘50s as fretful cold-war allegories. There was always something a little lordly about this kind of approach to pop-artifacts, as if the little dears couldn’t tell what made their hearts pitter-pat so until the redoubtable professor arrived with his chalkboard, duster, and special subtext X-ray specs. But the cottage industry of analysis that has sprung up around Alien is something else again. In 1980, the highly-respected academic journal Science Fiction Studies devoted an entire issue to the first Alien—an event that may, in time, come to rank alongside Cahiers du Cinema’s All-Hitchcock issue of 1956. Since then, there has been no looking back. We’ve had Alien as feminist allegory (“Woman: The Other Alien in Alien,” Women Worldwalkers: New Dimensions of Science Fiction and Fantasy, 1985), Alien as mothering fable (“Mommie Dearest: Aliens, Rosemary’s Baby, and Mothering,” Journal of Popular Culture, 1990), Alien as abortion parable (“Voices of Sexual Distortion: Rape, Birth, and Self-Annihilation Metaphors in the Aliens Trilogy,” Quarterly Journal of Speech, 1995). Even Jones the cat got his own diagram, courtesy of James H. Kavenagh’s essay “Son of a Bitch: Feminism, Humanism, and Science in Alien” (October, No. 13, 1980), which sought to align the alien attack on humans with an Althusserian-Marxist takedown of humanism in general:"

"What is it about the Alien films? No other modern science-fiction film has inspired this level of termite-like deconstruction save perhaps Scott’s own Blade Runner, whose rain-soaked surfaces teem with postmodern theorists researching doctoral theses with titles like “American Exceptionalism and the Complicit Postcolonialism of Blade Runner” and “Data and Dick’s Deckard: Cyborg as Problematic Signifier.” This suggests that there is something about the rich, art-directed layer-cake of Ridley Scott productions that positively cries out for Greimasian semantic rectangles. “It has absolutely no message,” insisted Scott of the first Alien. “It works on a very visceral level and its only point is terror, and more terror.” Of all the things you can do with Scott’s alien beastie—be frightened by it, thrilled by it, repulsed by it—studying it seems the last thing on anybody’s mind, except of course Science Officer Ash, secretly eyeing it up for the company’s weapons division. When it comes to the burgeoning field of post-doctorate Alien study, Ash graduates summa cum lauda. Study is all he wants to do."

"It’s one reason Alien scholars tend to be a little down on James Cameron, although they love the elevation of Ripley to post-feminist action figure—“get away from her you bitch!”—and approve of the fact that all the white males become dead white males at a faster rate than all the nonwhite males (see Greenberg, Harvey. “Fembo: Aliens’ Intentions”). Marxists, too, have clucked with approval at the series’ clear-eyed take on corporate malfeasance and outer-space worker rights. And Freudians, needless to say, have had a field day, at least with the first film. A movie more in need of a trip to the analyst would be harder to find."

"For a brief moment in the early ‘80s, it looked as if the brave new world of Alien studies was going to splinter irreconcilably on the issue of Officer Ripley’s panties—the anti-panty camp accusing the pro-panty wing of uncritical phallocentrism, the pro-panty caucus accusing the anti-panty wing of repressive and self-defeating assumptions about what constitutes sexism. It was left to Melbourne’s professor Creed to broker a tentative piece between the two camps. “Much has been written about the final scene, in which Ripley undresses before the camera, because its voyeurism undermines her role as successful heroine,” she wrote with an air of weary summary in “Horror and the Monstrous Feminine: An Imaginary Abjection” Screen, Vol. 27, 1986. What if Ripley in her panties “signifies the ‘acceptable’ form and shape of woman. … The display of woman as a reassuring and pleasurable sign.” It’s the system of signification, stupid! As for the sex of the alien “the alien is the mother’s phallus,” she determined, “but the alien is more than a phallus, it is also coded as a toothed vagina, the monstrous feminine as a cannibalistic mother.” Voilà, thanks to another of those toothed vaginas that seem to be all the rage on college campuses these days."

"Now, then, ladies and gentlemen, do you see this gun? It fires 750 rounds of nine millimeter ammunition per minute. In other words, if all of you simultaneously were to rush me, not a single one of you would get any closer than you are right now. I do hope I've made myself understood."

"You a policeman? [cop nods] Well done. The mayor will go to your funeral. [raises his gun and points it at the cop's head]"

"We had a bomb scare in the Bronx yesterday, but it turned out to be a cantaloupe."

"Caz Dolowicz: Oh, come on. If I've got to watch my language just because they let a few broads in, I'm going to quit. How the hell can you run a goddamn railroad without swearing?"

"The Mayor: All I know is I am the goddamn Mayor of the goddamn City of New York."

"Hooker: Hey, wait a minute! Wait a minute! Can't anybody count? They all four got off! There's nobody driving the fucking train!"

"We are going to kill one passenger a minute until New York City pays us 1 million dollars."

"Before this train reaches the next station, it will become the scene of the most spectacular hijack ever attempted."

"Everyone read it. Now you can live it."

"No other hijack was ever like this."

"Walter Matthau - Lt. Zachary 'Z' Garber"

"Robert Shaw - Mr. Blue - Bernard Ryder"

"Martin Balsam - Mr. Green - Harold Longman"

"Hector Elizondo - Mr. Grey - Joe Welcome"

"Earl Hindman - Mr. Brown - George Steever"

"James Broderick - Denny Doyle"

"Dick O'Neill - Frank Correll"

"Lee Wallace - Al, the Mayor"

"Tom Pedi - Caz Dolowicz"

"Beatrice Winde - Mrs. Jenkins"

"Jerry Stiller - Lt. Rico Patrone"

"Julius Harris - Inspector Daniels"

"Tony Roberts - Deputy Mayor Warren LaSalle"

"Nathan George - Ptl. James"

"Rudy Bond - Phil, Police Commissioner"

"Kenneth McMillan - Harry, Borough Commander"

"Doris Roberts - Jessie, Mayor's Wife"

"Huh? I am not a bum. I'm a jerk. I once had wealth, power, and the love of a beautiful woman. Now I only have two things: my friends and uh, my thermos. Huh? My story? Okay. It was never easy for me. I was born a poor black child. I remember the days, sittin' on the porch with my family, singin' and dancin' down in Mississippi."

"For one dollar I'll guess your weight, your height, or your sex."

"First I get my name in the phone book and now I'm on your ass. You know, I'll bet more people see that than the phone book."

"Marie, are you awake? Good. You look so beautiful and peaceful, you almost look dead. I'm glad because there is something that has always been very difficult for me to say. I slit the sheet, the sheet I slit, and on the slitted sheet I sit. I've never been relaxed enough around anyone to be able to say that. You give me confidence in myself. I know we've only known each other four weeks and three days, but to me it seems like nine weeks and five days. The first day seemed like a week and the second day seemed like five days and the third day seemed like a week again and the fourth day seemed like eight days and the fifth day you went to see your mother and that seemed just like a day and then you came back and later on the sixth day, in the evening, when we saw each other, that started seeming like two days, so in the evening it seemed like two days spilling over into the next day and that started seeming like four days, so at the end of the sixth day on into the seventh day, it seemed like a total of five days. And the sixth day seemed like a week and a half. I have it written down, but I can show it to you tomorrow if you want to see it. Anyway, I've decided that tomorrow, when the time is right, I'm going to ask you to marry me, if that's okay with you. Just don't say anything. You've made me very happy."

"[singing] I'm picking out a Thermos for you! / Not an ordinary Thermos for you, / But the extra best Thermos that you can buy, / with vinyl and stripes and a cup built right in! I'm picking out a Thermos for you, / And maybe a barometer too. / And what else can I buy so on me you'll rely? / A rear-end thermometer too!"

"Good Lord! I've heard about this: cat juggling!"

"Well, I'm gonna go then, and I don't need any of this! I don't need this stuff, and I don't need you! I don't need anything, except this. [picks up an ashtray] An ashtray, and that's the only thing I need, is this! I don't need this or this! Just this ashtray, and this paddle game. The ashtray and the paddle game and that's all I need! And this remote control. The ashtray, the paddle game, and the remote control, and that's all I need. And these matches. The ashtray, and these matches, and the remote control and the paddle ball. And this lamp. The ashtray, this paddle game and the remote control and the lamp and that's all I need! And that's all I need too. I don't need one other thing, not one— I need this. [picks up chair] The paddle game, and the chair, and the remote control, and the matches for sure. Well what are you looking at? What do you think I am, some kind of a jerk or something? And this. [picks up magazine] The ashtray, the remote control, the paddle game, this magazine and the chair. [walking outside] And I don't need one other thing, except my dog. [Shithead growls at him] Well, I don't need my dog."

"He was a poor black sharecropper's son who never dreamed he was adopted."

"From rags to riches... to rags."

"Steve Martin — Navin R. Johnson / Cat Juggler (as Pig-Eye Jackson)"

"Bernadette Peters — Marie Kimble Johnson"

"Catlin Adams — Patty Bernstein"

"Jackie Mason — Harry Hartouinian"

"Carl Reiner — Himself"

"M. Emmet Walsh — The Sniper"

"Work, work, work, work, work, work, work. [turns to the bosom of a female staffer] Hello boys! Have a good night's rest? I missed you!"

"Gentlemen, affairs of state must take precedent over... affairs of state."

"Sir, he specifically requested two niggers. Well, to tell the family secret, my grandmother was Dutch."

"Alright, here we go. Hold your ears, folks. It's showtime!"

"Come on, boys! The way you're lollygaggin' around here with them picks and them shovels, you'd think it was a hundert an' twenty degrees...! Can't be more than a hundert an' fourteen! [A Chinese railroad worker collapses from heat exhaustion] Dock that Chink a day's pay for napping on the job."

"There might be a legal precedent. Land snatching. [searches books] "L--land. See snatch.""

"[monologue to the camera] A sheriff! But law and order is the last thing I want! Wait a minute...maybe I can use this to my advantage. If I could find a sheriff who so offends the people of Rock Ridge that his very appearance would drive them out of town! Wherever will I find such a man? [To the camera] Why am I asking you?"

"[Hailing a cab in Hollywood] Drive me off this picture!"

"You men will be risking only your lives.... whilst I will be risking an almost certain Academy Award nomination for Best Supporting Actor!"

"[his last line (referring to Douglas Fairbanks), after Bart shoots him outside Graumann's Chinese Theater in Hollywood] ...How did he do such fantastic stunts - with such little feet?"

"It got so that every piss-ant prairie punk who thought he could shoot a gun would ride into town to try out the Waco Kid. I must've killed more men than Cecil B. DeMille. It got pretty gritty. I started to hear the word "draw" in my sleep. Then one day, I was just walking down the street...and I heard a voice behind me shout, "Reach for it, mister!" I spun around and there I was, face-to-face...with a six-year-old kid. Well, I just threw my guns down and walked away. Little bastard shot me in the ass! So I limped to the nearest saloon, crawled inside a whiskey bottle, and I've been there ever since."

"[to Bart] What did you expect? "Welcome, sonny?" "Make yourself at home?" "Marry my daughter?" You've got to remember that these are just simple farmers. These are people of the land—the common clay of the new West. You know... morons."

"[as Bart puts on his guns to fight Mongo] No. Don't do that, don't do that. If you shoot him you'll just make him mad."

"[to Bart after he shoots and kills Lamarr] Wow, you shot the bad guy."

"Willkommen, Bienvenue, Welcome, C'mon in."

"Come on, Lamarr, let's get down to bwass tacks."

"Hey there, handsome. Is that a ten-gallon hat, or are you just enjoying the show?"

"Why don't you, uh...loosen your bullets?"

"Let's face it. Everything below the waist is kaputt!"

"Tell me, "Tex ma'am", are you in show business? Well then why don't you get your fwiggin' feet off the stage!"

"A wed wose... how womantic."

"[on testing for quicksand] Horses? We cain't afford t'lose no horses, you dummy! Send over a couple'a niggers."

"Well, how do you like that! We take the trouble to slaughter every last Indian in the West,and for what? So we can appoint a sheriff who's Blacker than any Indian! I AM DEPRESSED!!"

"Mongo only pawn in game of life."

"Cleavon Little - Sheriff Bart"

"Gene Wilder - Jim, aka "The Waco Kid""

"Mel Brooks - Governor William J. Le Petomane"

"Madeline Kahn - Lily von Shtupp"

"Harvey Korman - Hedley Lamarr"

"Slim Pickens - Taggart"

"Dom DeLuise - Buddy Bizarre"

"Burton Gilliam - Lyle"

"John Hillerman - Howard Johnson"

"David Huddleston - Olsen Johnson"

"Alex Karras - Mongo"

"Liam Dunn - Reverend Johnson"

"[voiceover] "Chapter One. He adored New York City. He idol­ized it all out of proportion." Uh, no, make that: "He-he . . . romanticized it all out of proportion." Yeah. To him, no matter what the season was, this was still a town that existed in black-and-white and pulsated to the great tunes of George Gershwin." Uh, no let me start this over. "Chapter One. He was too romantic about Manhattan as he was about everything else. He thrived on the hustle bustle of the crowds and the traffic. To him, New York meant beautiful women and street-smart guys who seemed to know all the angles." Nah, corny, too corny for a man of my taste [He clears his throat.] Let me - let me try and make it more profound. "Chapter One. He adored New York City. To him, it was a metaphor for the decay of contemporary culture. The same lack of individual integrity that cause so many people to take the easy way out was rapidly turning the town of his dreams in-" No, it's gonna be too preachy. I mean, you know, let's face it, I wanna sell some books here. "Chapter One. He adored New York City, although to him, it was a metaphor for the decay of contemporary culture. How hard it was to exist in a society desensitized by drugs, loud music, televi­sion, crime, garbage." Too angry. I don't wanna be angry. "Chapter One. He was as tough and romantic as the city he loved. Behind his black-rimmed glasses was the coiled sexual power of a jungle cat." I love this. "New York was his town, and it always would be.""

"(Offscreen) An idea for a short story about um people in Manhattan who uh are constantly creating these real, uh, unnecessary, neurotic problems for themselves 'cause it keeps them from dealing with more unsolvable, terrifying problems about, uh, the universe. (The camera pulls back, revealing Ike, sprawled out on his couch, holding the recorder's microphone to his mouth. He continues to talk, fiddling with the microphone's wire as he thinks out loud.) (Into the microphone, sighing) Um, tsch-it's, uh . . . well, it has to be optimistic. Well, alright, why is life worth living? That's a very good question. (Sighing) Um. (Clearing his throat, then sighing again) Well, there are certain things I-I guess that make it worthwhile. (Sighing) Uh, like what? (Sighing again and scratching his neck) Okay. Um, for me . . . (Sighing) uh, ooh, I would say . . . what, Groucho Marx, to name one thing . . . uh, ummmm, and (Sighing) Willie Mays and um, the second movement of the Jupiter Symphony, and ummmm... (Exhaling) Louie Armstrong's recording of "Potato Head Blues" . . . (Sighing) umm, Swedish movies, naturally . . . Sentimental Education by Flaubert . . . uh, Marlon Brando, Frank Sinatra . . . (Sighing) ummm, those incredible apples and pears by Cézanne . . . (Sighing) uh, the crabs at Sam Wo's . . . uh, Tracy's face."

"This is so antiseptic. It's empty. Why do you think this is funny? You're going by audience reaction? This is an audience that's raised on television, their standards have been systematically lowered over the years. These guys sit in front of their sets and the gamma rays eat the white cells of their brains out!"

"You rely too much on the brain. The brain is the most overrated organ."

"[to Yale and Emily Pollack and Tracy] Talent is luck. The important thing in life is courage."

"[to Yale Pollack] You shouldn't ask me for advice. When it comes to relationships with women, I'm the winner of the August Strindberg Award."

"[to Tracy] I think that people should mate for life, like pigeons or Catholics."

"I can't express anger. That's my problem. I internalize everything. I just grow a tumor instead."

"She's 17. I'm 42, and she's 17. I'm older than her father, can you believe that? I'm dating a girl, wherein, I can beat up her father."

"[to Mary Wilke] You know a lot of geniuses, y'know. You should meet some stupid people once in a while, y'know, you could learn something."

"[to Mary Wilke] I had a mad impulse to throw you down on the lunar surface and commit interstellar perversion."

"[to Yale Pollack] What are you telling me, that you're, you're, you're gonna leave Emily, is this true? And, and run away with the, the, the winner of the Zelda Fitzgerald emotional maturity award?"

"[to Isaac Davis] It's just gossip, you know. Gossip is the new pornography."

"[to Isaac Davis] Not everybody gets corrupted. You've got to have faith in people."

"Woody Allen - Isaac Davis"

"Diane Keaton - Mary Wilke"

"Michael Murphy - Yale Pollack"

"Mariel Hemingway - Tracy"

"Meryl Streep - Jill Davis"

"Anne Byrne - Emily Pollack"

"Wallace Shawn - Jeremiah"

"Karen Ludwig - Connie"

"Charles Levin, Karen Allen, and David Rasche as Television actors"

"Mark Linn-Baker and Frances Conroy as Shakespearean actors"

"Greg, honey, is it supposed to be this soft?"

"It was the Deltas against the rules... the rules lost!"

"We can do anything we want. We're college students!"

"Relive the best 7 years of your college education."

"Guess Who's Back?"

"Animal House is an Educational Film!"

"John Belushi - John 'Bluto' Blutarsky"

"Tim Matheson - Eric 'Otter' Stratton"

"Peter Riegert - Donald 'Boon' Schoenstein"

"John Vernon - Dean Vernon Wormer"

"Karen Allen - Katy"

"Tom Hulce - Larry 'Pinto' Kroger"

"James Daughton - Greg Marmalard"

"Mark Metcalf - Douglas C. Neidermeyer"

"Stephen Furst - Kent 'Flounder' Dorfman"

"Bruce McGill - Daniel Simpson 'D-Day' Day"

"Cesare Danova - Mayor Carmine De Pasto"

"Mary Louise Weller - Mandy Pepperidge"

"Martha Smith - Barbara 'Babs' Jansen"

"James Widdoes - Robert Hoover"

"Verna Bloom - Marion Wormer"

"Kevin Bacon - Chip Diller"

"Donald Sutherland - Professor Dave Jennings"

"Sarah Holcomb - Clorette De Pasto"

"[to Babe] You're weak. Your father was weak in his way. Your brother in his, now you in yours. You are all so predictable."

"Peter Janeway: [to Babe, explaining about the Division] Everything we do cuts both ways!"

"Professor Biesenthal: Well, you four have the dubious honor of having been picked from over two hundred applicants for this seminar. Well, let me just say this. There's a shortage of natural resources. There's a shortage of breathable air, there's even a shortage of adequate claret. But there is no shortage of historians. We grind you out like link sausages. That's called progress. Manufacturing doctorates is called progress. Well, I say, "Let us hush this cry of progress until ten thousand years have passed." That's a quote. Who said that? Come on, who said that? Well, somebody must know the answer [none of the students answer] Tennyson! Alfred, Lord Tennyson. My God, but you can't compete on a doctoral level and not know "Locksley Hall" and "Locksley Hall 60 Years Later"! I hope you all flunk. Dismissed."

"A thriller."

"One man's dangerous attempt to clear his father's name."

"Dustin Hoffman - Thomas Babington "Babe" Levy"

"Lord Laurence Olivier - Dr. Christian Szell"

"Roy Scheider - Henry David "Doc" Levy"

"William Devane - Peter Janeway"

"Marthe Keller - Elsa Opel"

"Tito Goya - Melendez"

"[Caleb is crying] Stop that, boy!"

"[Jeremiah and Caleb see a bird flying across the sky] Hawk. Goin' for the Musselshell. Take me a week's ridin', and he'll be there in... hell, he's there already."

"[to Jeremiah at first meeting, when Del was buried up to his neck in sand] No one's passed in front of me, can't say what's happened behind me."

"There's a fine horse under me."

"Ain't that Hatchet Jack's rifle?"

"[to Jeremiah after slipping fresh scalps onto his pack horse in face of approaching Indians] I didn't know they was gonna be Flatheads."

"[to Jeremiah] You turn down this gift, and they'll slit you, me, Caleb and the horses from crotch to eyeball with a dull deer antler!"

"He may be a Christian and speak of the bible, but he still an Indian, and his rules is his rules. If you value your hair, you will get married!"

"[to Jeremiah at his wedding] You can take her to Fort Hauley and sell her, but you best take her my friend. Maybe she ain't near bad."

"“I ain’t never seen ’em, but my common sense tells me the Andes is foothills and the Alps is for children to climb. Keep good care of your hair. These here is God’s finest sculpturins and there ain’t no laws for the brave ones. And there ain’t no asylums for the crazy ones. And there ain’t no churches excepting for this right here. And there ain’t no priests excepting the birds. By God I are a mountain man and I’ll live until an arrow or a bullet finds me and then I’ll leave my bones right here on this great map of the magnificent…"

"[to Jeremiah amidst his ongoing fight with the Crows] I cannot brag on your choice of campsites."

"[note on Hatchet Jack] I, Hatchet Jack, being of sound mind and broke legs, do hereby leaveth my bear rifle to whatever finds it, Lord hope it be a white man. It is a good rifle, and killt the bear that killt me. Anyway, I am dead. Yours truly, Hatchet Jack."

"His name was Jeremiah Johnson, and they say he wanted to be a mountain man. The story goes that he was a man of proper wit and adventurous spirit, suited to the mountains. Nobody knows where abouts he come from and don't seem to matter much. He was a young man and ghosty stories about the tall hills didn't scare him none. He was looking for a Hawken gun, .50 caliber or better. He settled for a .30, but damn, it was a genuine Hawken, and you couldn't go no better. Bought him a good horse, and traps, and other truck that went with being a mountain man, and said good-bye to whatever life was down there below."

"A man of peace driven wild!"

"The man who became a legend. The film destined to be a classic!"

"His Mountain. His Peace. His Great Hunts. His Young Bride. With All That, It Should Have Been Different."

"Some say he's dead...some say he never will be."

"Robert Redford - Jeremiah Johnson"

"Will Geer - Bear Claw Chris Lapp"

"Stefan Gierasch - Del Gue"

"Delle Bolton - Swan"

"Josh Albee - Caleb"

"Joaquín Martínez - Paints His Shirt Red"

"Allyn Ann McLerie - the Crazy Woman"

"Paul Benedict - Reverend Lindquist"

"Jack Colvin - Lieutenant Mulvey"

"Matt Clark - Qualen"

"Richard Angarola - Chief Two-Tongues Lebreaux"

"Charles Tyner - Robidoux"

"This car could be systematic, hydromatic, ultramatic. Why, it could be Greased Lightning!"

"[singing] I got chills, They're multiplyin,' And I'm losing control. 'Cause the power you're supplyin' — It's electrifyin'!"

"That's my name, don't wear it out."

"He was so nice to me this summer."

"Tell me about it, stud."

"Did you guys get a look at Zuk this Morning? Looking pretty good this year huh Rizz?"

"How much dough did he spend?"

"Oh no! I'm going to be a senior forever. I have to study for that Dumb algebra test tomorrow."

"Sandy, wherefore art thou, Sandy!"

"The only thing that hangs around you, Sonny, are the flies!"

"Like a Beautiful blonde Pineapple"

"So, what did you do all summer Danny?"

"Yea Right here Putzie!"

"But you dont gotta Brag"

"The whole place a no Parking Zone Crater Face"

"Hey, how was the Action at the beach man?"

"A hickey from Kenickie is like getting a Hallmark card—when you care enough to send the very best."

"[singing] Look at me, I'm Sandra Dee, Lousy with virginity. Won't go to bed 'til I'm legally wed. I can't, I'm Sandra Dee."

"Coz he sounds like a drag"

"Gosh, Your turning into a One Woman USO"

"Men are rats. Listen to me, they're fleas on rats. Worse than that, they're amoebas on fleas on rats. I mean, they're too low for even the dogs to bite. The only man a girl can depend on is her daddy."

"was it love at first sight?"

"If you can't be an athlete, be an athletic supporter."

"Oh, Blanche, stop blubbering!"

"John Travolta - Danny Zuko"

"Olivia Newton-John - Sandy Olsson"

"Stockard Channing - Betty Rizzo"

"Jeff Conaway - Kenickie"

"Michael Tucci - Sonny LaTierri"

"Didi Conn - Frenchy"

"Dinah Manoff - Marty Maraschino"

"Jamie Donnelly - Jan"

"Eve Arden - Principal McGee"

"Frankie Avalon - The Teen Angel"

"Edd Byrnes - Vince Fontaine"

"Sid Caesar - Coach Calhoun"

"Lorenzo Lamas - Tom Chisum"

"Susan Buckner - Patty Simcox"

"Eddie Deezen - Eugene Felnic"

"I always felt my place was in America, and when I was ten years old I only dreamed of coming to America and being the greatest and being different from anybody else."

"I've thrown up many times working out, but it's all worth it."

"Franco is pretty smart, but Franco's a child, and when it comes to the day of the contest, I am his father. He comes to me for advices. So it's not that hard for me to give him the wrong advices."

"I don't have any weak points. I had weak points three years ago, but my main thing in mind is, my goal always was, to even out everything to the point... that everything is perfect. Which means if I want to increase one muscle a half inch, the rest of the body has to increase. I would never make one muscle increase or decrease, because everything fits together now, and all I have to do is get my posing routine down more perfect, which is almost impossible to do, you know. It's perfect already."

"Milk is for babies; when you grow up, you have to drink beer."

"The greatest feeling you can get in a gym, or the most satisfying feeling you can get in the gym is... The Pump. Let's say you train your biceps. Blood is rushing into your muscles and that's what we call The Pump. You muscles get a really tight feeling, like your skin is going to explode any minute, and it's really tight - it's like somebody blowing air into it, into your muscle. It just blows up, and it feels really different. It feels fantastic."

"It's as satisfying to me as, uh, cumming is, you know? As, ah, having sex with a woman and cumming. And so can you believe how much I am in heaven? I am like, uh, getting the feeling of cumming in a gym, I'm getting the feeling of cumming at home, I'm getting the feeling of cumming backstage when I pump up, when I pose in front of 5,000 people, I get the same feeling, so I am cumming day and night. I mean, it's terrific. Right? So you know, I am in heaven."

"[walks up to the counter of Gold's Gym] Can I sign up? I want to start gaining some muscles."

"I was always dreaming about very powerful people - dictators and things like that. I was just always impressed by people who could be remembered for hundreds of years, or even, like Jesus, be for thousands of years remembered."

"Come on let's get Serious!"

"You're the king, Arnold, and you're going to stay the king a long time."

"Never feel sorry for yourself. Remember, if you are training hard, he may be training twice as hard. You just gotta keep coming back stronger."

"You know, Louis, you look like something Michelangelo carved out."

"Once this baby starts kicking, it ain't gonna stop. So nobody get cute! [While carrying an automatic, high-powered shotgun to hold the villains at bay]"

"THE Brother Man in the Motherland."

"Shaft is stickin' it...all the way."

"Richard Roundtree - John Shaft"

"Frank Finlay - Amafi"

"Vonetta McGee - Aleme"

"Neda Arneric - Jazar"

"Debebe Eshetu - Wassa"

"See, all our people are businessmen. Their loyalty's based on that. One thing I learned from Pop was to try to think as people around you think. And on that basis, anything's possible."

"I don't feel I have to wipe everybody out, Tom. Just my enemies."

"[on the night of the Cuban government's New Year's Eve celebration; just after the countdown, he embraces Fredo and whispers to him ] There's a plane waiting to take us to Miami in an hour. I'd like you to think about it. [breaks away and suddenly grips Fredo to give him the kiss of death] I know it was you, Fredo. You broke my heart. [shakes him] You broke my heart!"

"[to Signor Roberto threatening to evict an old widow, in Italian] Do me this favor. I won't forget it. Ask your friends in the neighborhood about me. They'll tell you I know how to return a favor."

"[to Don Ciccio, in Sicilian] My father's name was Antonio Andolini, and this is for you! [stabs him]"

"[traps Vito in his car, in Sicilian] Young man, I hear you and your friends are stealing goods, but you don't even send a dress to my house. No respect! You know I've got three daughters. This is my neighborhood. You and your friends should show me some respect. You should let me wet my beak a little. I hear you and your friends cleared $600 each. Give me $200 each, for your own protection, and I'll forget the insult. You young punks have to learn to respect a man like me! Otherwise the cops will come to your house and your family will be ruined. Of course, if I’m wrong about how much you stole I’ll take less. And by less, I only mean a hundred bucks less. Now don’t refuse me. Understand, paisan? [After Vito hesitates] Capisci, paisano? (Understand, friend?)"

"If I could only live to see it, to be there with you. What I wouldn't give for 20 more years! Here we are, protected, free to make our profits without Kefauver, the goddamn Justice Department and the F.B.I. 90 miles away, in partnership with a friendly government. Ninety miles! It's nothing! Just one small step, looking for a man who wants to be President of the United States, and having the cash to make it possible. Michael, we're bigger than U.S. Steel."

"I'd give four million just to be able to take a piss without it hurting."

"I'm going to take a nap. When I wake up, if the money is on the table, I'll know I have a partner. If it isn't, I'll know I don't."

"[to Michael] There was this kid I grew up with; he was younger than me. Sorta looked up to me, you know. We did our first work together, worked our way out of the street. Things were good. We made the most of it. During Prohibition, we ran molasses into Canada, made a fortune. Your father, too. As much as anyone, I loved him and trusted him. Later on he had an idea to build a city out of a desert stop-over for GI's on the way to the West Coast. That kid's name was Moe Greene, and the city he invented was Las Vegas. This was a great man, a man of vision and guts, and there isn't even a plaque, or a signpost or a statue of him in that town! Someone put a bullet through his eye. No one knows who gave the order. When I heard it, I wasn't angry. I knew Moe. I knew he was head-strong, talking loud, saying stupid things. So when he turned up dead, I let it go and I said to myself: this is the business we've chosen. I didn't ask who gave the order, because it had nothing to do with business!"

"Michael, I hated you for so many years. I think that I did things to myself, to hurt myself so that you'd know - that I could hurt you. You were just being strong for us the way Poppa was, and I forgive you. Can't you forgive Fredo? He's so sweet and helpless without you. You need me, Michael. I wanna take care of you now."

"[addressing the Senate committee hearings on the Corleone Family] For years now a growing number many of my constituents have been of Italian descent. I've come to know them well. They have honored me with their support and with their friendship. I can proudly say that some of my very best friends are Italian-Americans. However, Mr. Chairman, at this time unfortunately, I have to leave these proceedings in order to preside over a very important meeting of my own committee. But before I leave, I do want to say this, that these hearings on the Mafia are in no way whatsoever a slur upon the great Italian people because I can state from my own knowledge and experience that Italian-Americans are among the most loyal, most law-abiding, patriotic, hard-working American citizens in this land. And It would be a shame, Mr. Chairman, if we allowed a few rotten apples to give a bad name to the whole barrel. Because from the time of the Great Christopher Columbus to the time of Enrico Fermi right up to the present day, Italian-Americans have been pioneers in building and defending our nation. They are the salt of the earth, and one of the backbones of this country..."

"Al Pacino - Michael Corleone"

"Robert Duvall - Tom Hagen"

"Diane Keaton - Kay Adams-Corleone"

"Robert De Niro - Vito Corleone"

"John Cazale - Fredo Corleone"

"Talia Shire - Connie Corleone"

"Lee Strasberg - Hyman Roth"

"Michael V. Gazzo - Frankie Pentangeli"

"G.D. Spradlin - Sen. Pat Geary"

"Richard Bright - Al Neri"

"Gastone Moschin - Don Fanucci"

"Tom Rosqui - Rocco Lampone"

"Bruno Kirby - Young Clemenza"

"Frank Sivero - Genco Abbandando"

"Dominic Chianese - Johnny Ola"

"Troy Donahue - Merle Johnson"

"James Caan - Santino 'Sonny' Corleone"

"Abe Vigoda - Sal Tessio"

"Giuseppe Sillato - Don Francesco Ciccio"

"Mario Cotone - Don Tommasino"

"Carmine Caridi - Carmine Rosato"

"Danny Aiello - Tony Rosato"

"[singing] Dammit, Janet, I love you."

"[after the Transylvanians perform the Time Warp.] Say, do any of you guys know how to Madison?"

"[Dr. Scott crashes through the laboratory wall.] Great Scott!"

"[repeated line.] Hi, my name is Brad Majors, and this is my fiancée, Janet Weiss."

"[After Dr Frank N Furter asked Brad if he had any tattoos] Certainly not!"

"Hospitality! All we wanted to do was use your telephone, goddammit, a reasonable request you’ve chosen to ignore!"

"I don't like men with too many muscles."

"If only we were amongst friends... or sane persons!"

"[singing] Touch-a touch-a touch-a touch me / I wanna be dirty! Thrill me, chill me, fulfill me / Creature of the night!"

"I'm a muscle fa-a-a-an!"

"Oh, dear, you're hurt! Did they do this to you?"

"[singing] I'll put up no resistance, I want to stay the distance."

"[singing] I've tasted blood and I want MORE."

"Is he.. Frank, I mean, is he your husband?"

"How do you do? I/ see you've met my/ faithful handyman. He's just a/ little brought down, because/ when you knocked, he thought you were the candy-man."

"[singing] Don't get strung out by the way I look./ Don't judge a book by its cover./ I'm not much of a man by the light of day,/ but by night I'm one hell of a lover!"

"[singing] I'm just a sweet transvestite, from Transsexual, Transylvania!"

"You look like you're both pretty groovy!"

"Well, you got caught with a flat!/ Well, how 'bout that?/ Well, babies, don't you panic!/ By the light of the night,/ It'll all seem all right!/ I'll get you a satanic mechanic! [While singing 'how 'bout that?', Dr. Frank N. Furter looks directly into the camera and raises one eyebrow, implying that he may have had something to do with the breakdown]"

"So, come up to the lab,/ and see what's on the slab!/ I see you shiver with antici... [3-second long pause] ...pation./ But maybe the rain/ isn't really to blame,/ so I'll remove the cause.../ [chuckles] but not the symptom."

"Tonight, my unconventional conventionalists, you are about to witness a new breakthrough in biochemical research, and paradise is to be mine!"

"[after hacking Eddie to death with a ice-pick] One from the vaults. Don't be upset - it was a mercy killing. He had a certain naïve charm, but no muscle."

"In just seven days (And six long nights), I can make you a man. Dig it if you can."

"[hitting Riff-Raff with a whip] How did it happen?! I understood you were to be watching!"

"That's a rather tender subject. Another slice, anyone?"

"[singing] I'll tell you once, I won't tell you twice! You better wise up, Janet Weiss! Your apple pie don't taste too nice! You better wise up, Janet Weiss!"

"[singing] It's something you'll get used to! A mental mind fuck can be nice!"

"Ok? Ok!? I think we can do better then that! Brad and Janet, what do you think of him?"

"[singing] Planet Schmanet, Janet!!!"

"[singing] Don't get hot and flustered! Use a bit of mustard!"

"It's not easy having a good time! Even smiling makes my face ache!"

"Do you think I made a mistake splitting his brain between the two of them?"

"COME! We are ready for the floor show!"

"[singing] Whatever happened to Fay Wray? / That delicate satin-draped frame; / As it clung to her thigh, / How I started to cry, / 'Cause I wanted to be dressed just the same!"

"[singing] Give yourself over to absolute pleasure. Swim the warm waters of sins of the flesh - erotic nightmares beyond any measure, and sensual daydreams to treasure forever. Can't you just see it? Don't dream it, be it!"

"'Cause I've seen blue skies, through the tears in my eyes. And I realize, I'm going home."

"Well, really, That’s no way to behave on your first day out… but, uhmm, since your such an exceptional beauty, I’m prepared to forgive you."

"I would like (You would, wouldn't you?), if I may (You may not.), to take you (Where?) on a strange journey. (How strange was it? It was so strange, they made a movie about it!)"

"It's just a jump to the left."

"[reading from dictionary] "Emotion: Agitation or disturbance of mind; vehement or excited mental state." It is also a powerful and irrational master. And from what Magenta and Columbia eagerly viewed on their television monitor, there seemed little doubt that Janet was, indeed... its slave."

"[Last spoken lines.] And crawling (Where?) on the planet's face, (What did you have for breakfast?) some insects (How'd you run your phone bill up so high?) called the human race. (Where's your neck?) Lost in time, (What's your favorite TV show?) lost in space... (What does this film lack?) and meaning."

"On a night out... (It was a Day's Inn) it was a night out they were going to remember (For how long?) for a very long time."

"You're wet. [after observing an obviously drenched Brad and Janet]"

"[singing] It's astounding, time is fleeting, madness takes its toll."

"The master is not yet married, nor do I think he ever will be. We are simply his servants."

"Everything is in readiness, Master. We merely await your... word."

"[while Frank-N-Furter is hitting him with a whip] MERCYYYYYYY!"

"You know this earthling? [correcting himself.] This... person?"

"[laughing with Magenta, cuts off suddenly and turns to her] Hahahahaha—SHUT UP!"

"[singing] Frank'N'Furter it's all over. Your mission is a failure, your lifestyle's too extreme. I'm your new commander, you now are my prisoner. We return to Transylvania, prepare the transit beam."

"Say good-bye to all of this. (Good-bye, all of this!) And say hello... to oblivion. (Hello, oblivion; how's the wife and kids?)"

"[referring to Frank'N'Furter and Columbia'] They didn't like me!...They never liked me!"

"[After answering the door for Brad and Janet] Hellooo... [After thunder and lightning flash] I think perhaps you better both...come inside."

"How sentimental...And also presumptuous of you. You see, when I said WE were to return to Transylvania, I referred only to Magenta and myself. I'm sorry, however, if you found my words misleading; but, you see, you are to remain here...in spirit, anyway."

"You're lucky. He's lucky. I'm lucky! WE'RE ALL LUCKY! [laughs.]"

"[singing]It's so dreamy / Oh, fantasy, free me! / So you can't see me / No, not at all. In another dimension, / With voyeuristic intention, / Well secluded, I see all."

"Come along, the master doesn't like to be kept waiting. [beat.] Shift it!"

"[bangs gong.] Master! Dinner is prepared!"

"[frustrated] Ahh, I grow weary of this world! When do we return to Transylvania, huh?!"

"I ask for nothing! ...Master."

"But I thought you liked them! ...They liked you."

"Tell us about it, Janet!"

"[singing.] Well I was walking down the street, just a-havin' a think/ When a snake of a guy gave me an evil wink! He shook-a me up, he took me by surprise/ He had a pick-up truck and the devil's eyes! He stared at me and I felt a change/ Time meant nothin', never would again!"

"[watching Brad and Janet being stripped to their underwear.] Oh, slowly, slowly! It's too nice a job to rush!"

"He's okay!"

"My God! I can't stand any more of this! First you spurn me for Eddie, and then you throw him off like an old overcoat for Rocky! You chew people up and then you spit them out again! I loved you... do you hear me? I loved you! And what did it get me? Yeah, I'll tell you: a big nothing! You're like a sponge, you take, take, take, and drain others of their love and emotion! Yeah, well, I've had enough! You're gonna choose between me and Rocky, so named 'cause of the rocks in his head!"

"[singing] It was great when it all began/ I was a regular Frankie fan."

"[singing] Everybody shoved him, I very nearly loved him I said, 'Hey listen to me, stay sane inside insanity', but he locked the door and threw away the key."

"You’re very lucky to be invited up to Frank’s Laboratory, some people would give their right arm for the privilege. (People like you?) Ha! I’ve seen it!"

"[singing] Whatever happened to Saturday night?"

"[singing] Hot patootie, bless my soul! I really love that rock n' roll!"

"[singing]I'm out of my head / Oh hurry, or I may be dead. They musn't carry out their evil deeds. [bloodcurdling scream.]"

"Give yourself over to absolute pleasure."

"Dig It If You Can"

"A Different Set Of Jaws."

"Another Kind Of Rocky."

"He's the hero—that's right, the hero!!"

"Don't Dream it, Be It!"

"A Musical Dream Come True (British poster)"

"Jonathan Adams - Dr. Everett Von Scott"

"Barry Bostwick - Brad Majors"

"Nell Campbell - Columbia"

"Tim Curry - Dr. Frank-N-Furter"

"Charles Gray - The Criminologist"

"Peter Hinwood - Rocky"

"Hilary Labow - Betty Munroe Hapschatt"

"Meat Loaf - Eddie"

"Jeremy Newson - Ralph Hapschatt"

"Richard O'Brien - Riff Raff"

"Patricia Quinn - Magenta"

"Susan Sarandon - Janet Weiss"

"There's not a day in my life that I don't feel like a fraud. Other priests, doctors, lawyers - I talk to them all. I don't know anyone who hasn't felt that."

"[to the demon, after Merrin's death] You son of a bitch! Take me! Come into me! Goddamn you, TAKE ME! TAKE ME! [becomes possessed, tries to strangle Regan] NO!!! [throws himself out the window]"

"My bed was shaking. I can't get to sleep."

"You're going to die up there."

"[as she is being thrown about on her bed] OH PLEASE MOTHER, MAKE IT STOP!!! IT'S HURTING!!!!! [possessed voice, after a doctor tried to hold her] Keep away! The sow is mine! Fuck me! Fuck me! Fuck me!"

"[possessed voice, as she masturbates with a crucifix] LET JESUS FUCK YOU! LET JESUS FUCK YOU! LET HIM FUCK YOU!!! [pressing Chris's face into her groin] LICK ME! LICK ME! [spins her head 180 degrees] You know what she did?! Your cunting daughter?!"

"[possessed voice, to Father Merrin] Stick your cock up her ass, you motherfucking worthless cocksucker!"

"[possessed voice] Your mother sucks cocks in hell, Karras, you faithless swine."

"[to Father Karras] Especially important is the warning to avoid conversations with the demon. We may ask what is relevant but anything beyond that is dangerous. He is a liar. The demon is a liar. He will lie to confuse us. But he will also mix lies with the truth to attack us. The attack is psychological, Damien, and powerful. So don't listen to him. Remember that - do not listen."

"THE POWER OF CHRIST COMPELS YOU!"

"The Devil Inside."

"Somewhere between science and superstition, there is another world. The world of darkness."

"Something beyond comprehension is happening to a girl on this street, in this house. And a man has been sent for as a last resort. This man is the Exorcist."

"Nobody expected it, nobody believed it, and nothing could stop it. The one hope, the only hope: THE EXORCIST."

"The 1973 horror flick "The Exorcist" is my favorite snapshot of the cultural place of (white) (cis) little girls. In the film, a little girl (with a single mother) is possessed by the devil. From another perspective, the little girl is actually exploring her sexuality (masturbation and so on) and her own demons/meanness. Obviously, (white) men from the church have to be brought in to save her since her single mom can't do it alone."

"Ellen Burstyn - Chris MacNeil"

"Max von Sydow - Father Lankester Merrin"

"Jason Miller - Father Damien Karras"

"Linda Blair - Regan Teresa MacNeil"

"Lee J. Cobb - Lieutenant William Kinderman"

"Kitty Winn - Sharon Spencer"

"Jack MacGowran - Burke Dennings"

"Reverend William O'Malley - Father Dyer"

"Barton Heyman - Dr. Klein"

"Peter Masterson - Dr. Barringer, Clinic Director"

"Arthur Storch - Psychiatrist"

"Mercedes McCambridge - voice of Pazuzu"

"It is a period of civil war. Rebel spaceships, striking from a hidden base, have won their first victory against the evil Galactic Empire. During the battle, Rebel spies managed to steal secret plans to the Empire's ultimate weapon, the DEATH STAR, an armored space station with enough power to destroy an entire planet. Pursued by the Empire's sinister agents, Princess Leia races home aboard her starship, custodian of the stolen plans that can save her people and restore freedom to the galaxy...."

"Well, the Force is what gives a Jedi his power. It is an energy field created by all living things. It surrounds us and penetrates us; it binds the galaxy together."

"Mos Eisley spaceport: You will never find a more wretched hive of scum and villainy. We must be cautious."

"[after the Death Star has destroyed Alderaan] I felt a great disturbance in the Force... as if millions of voices suddenly cried out in terror, and were suddenly silenced. I fear something terrible has happened."

"Who's the more foolish? The fool, or the fool who follows him?"

"Use the Force, Luke."

"It's your father's lightsaber. This is the weapon of a Jedi Knight. Not as clumsy or random as a blaster, but an elegant weapon for a more... civilized age. For over a thousand generations, the Jedi Knights were the guardians of peace and justice in the Old Republic. Before the dark times... before the Empire."

"A young Jedi named Darth Vader, who was a pupil of mine until he turned to evil, helped the Empire hunt down and destroy the Jedi Knights. He betrayed and murdered your father. Now the Jedi are all but extinct. Vader was seduced by the dark side of the Force."

"[Seeing the Death Star] That's no moon. It's a space station."

"I have a very bad feeling about this."

"We seem to be made to suffer. It's our lot in life."

"We’re doomed!"

"You are part of the Rebel Alliance and a traitor! Take her away!"

"And now, Your Highness, we will discuss the location of your hidden Rebel base."

"This will be a day long remembered. It has seen the end of Kenobi. It will soon see the end of the Rebellion."

"The Force is strong with this one."

"[to Luke, in disguise] Aren’t you a little short for a stormtrooper?"

"[to Han Solo] You needn't worry about your reward. If money is all that you love, then that's what you'll receive. [to Luke Skywalker] Your friend is quite a mercenary. I wonder if he really cares about anything... or anybody."

"Look, I ain't in this for your revolution, and I'm not in it for you, Princess. I expect to be well paid. I'm in it for the money."

"[to Chewbacca, after the group is trapped in a garbage disposal center] That garbage chute was a really wonderful idea! What an incredible smell you’ve discovered!"

"May the Force be with you."

"A long time ago in a galaxy far far away..."

"Well, I liked Star Wars. I thought Battlestar Galactica was such a close imitation of Star Wars, emphasizing the less attractive portions, that I was a little impatient with it."

"They don't exactly give you a course in acting in a science fiction movie. At one point I'm supposed to react to seeing my planet blow up. You know, there go my parents, my record collection, everything. What do I see? A hand waving to tell me where to look."

"Hidden Fortress was an influence on Star Wars right from the beginning. I was searching around for a story. I had some scenes—the cantina scene and the space battle scene—but I couldn’t think of a basic plot. Originally, the film was a good concept in search of a story. And then I thought of Hidden Fortress, which I’d seen again in 1972 or ’73, and so the first plots were very much like it."

"I had the Star Wars project in mind even before I started my last picture, American Graffiti, and as soon as I finished I began writing Star Wars in January 1973... In fact, I wrote four entirely different screenplays for Star Wars, searching for just the right ingredients, characters and storyline. It's always been what you might call a good idea in search of a story."

"My main reason for making it was to give young people an honest, wholesome fantasy life, the kind my generation had. We had westerns, pirate movies, all kinds of great things. Now they have The Six Million Dollar Man and Kojak. Where are the romance, the adventure, and the fun that used to be in practically every movie made?"

"Before Star Wars, the films that were box-office hits were The Godfather, Taxi Driver, Bonnie and Clyde and The French Connection - gritty, amoral art movies. Then suddenly the onus switched over to spectacle and everything changed... I don't know if that is a good thing."

"Hollywood industrialized mythology, and then weaponized it. It is widely believed that the Soviet Union folded because they couldn’t compete with America’s missile shield program, nicknamed Star Wars. I’d argue that the Soviets folded because they couldn’t compete with the movie Star Wars."

"Before Star Wars I hadn’t experienced audience participation in a film since I was a kid. I used to sit there with a bag of popcorn and sing with the rest of the kids. And everybody used to shout “Look out behind you!? And all that. Then I saw Star Wars and it was amazing! I was knocked out. I thought, “God, this guy Lucas really knows what he’s doing!” Star Wars change my whole attitude about certain types of cinema that I‘m interested in."

"The most important line in “Star Wars,” to me, is the moment Luke looks at the Millennium Falcon, the most beautiful ship I’ve ever seen, and says, “What a piece of junk!”"

"Mark Hamill as Luke Skywalker"

"Harrison Ford as Han Solo"

"Carrie Fisher as Princess Leia Organa"

"Alec Guinness as Obi-Wan (Ben) Kenobi"

"Anthony Daniels as C-3PO"

"Kenny Baker as R2-D2"

"Peter Mayhew as Chewbacca"

"Peter Cushing as Grand Moff Tarkin"

"David Prowse as Darth Vader"

"James Earl Jones as the voice of Darth Vader"

"Jesus Christ, what a fuckin' nightmare."

"I'd like to place a personal bounty on the head of Tim McCracken. He's the coach and chief punk on that Syracuse team."

"[baiting the opposing goalie from behind the net] Hey, Hanrahan! Hanrahan!...Hey, Hanrahan! Suzanne sucks pussy!...Hey, Hanrahan, she's a dyke! I know! I know!...She's a lesbian! A lesbian! A lesbian!"

"Well Reg is our coach. Yeah, sure, Old Time Hockey! Like Eddie Shore. Eddie Shore, yeah. Coach... our line starts?"

"[to Ogie Ogilthorpe] Hi, Ogie! Buy ya a soda after the game?"

"Hey ya think they show Speed Racer here?"

"Ned Braden: You take the van, I'll keep the dog."

"Jim Carr: I may be bald, but at least I'm not chicken-shit!"

"Denis Lemieux: [discussing hockey rules and customs, in broken English] Icing 'appen when dee puck come down... Bang! You know... before dee udder guy. Nobody dere. My h'arm go comme ça, den dee game stop den start h'up."

"Denis Lemieux: My h'allergy to those fucking fans, you know, has returned."

"Slap Shot out slaps... out swears... out laughs..."

"you'll see Paul Newman doing things you'd never expect him to do... saying things you'd never expect him to say!"

"If this movie doesn't make you laugh, you better look up a psychiatric!!"

"Paul Newman – Reggie Dunlop (#7)"

"Strother Martin – Joe McGrath"

"Michael Ontkean – Ned Braden (#10)"

"Jennifer Warren – Francine Dunlop"

"Lindsay Crouse – Lily Braden"

"Jerry Houser – Dave "Killer" Carlson (#3)"

"Jeff Carlson – Jeff Hanson (#18)"

"Steve Carlson – Steve Hanson (#17)"

"David Hanson – Jack Hanson (#16)"

"Yvon Barrette – Denis Lemieux (#1)"

"Allan Nicholls – Johnny Upton (#12)"

"Brad Sullivan – Morris "Mo" Wanchuk (#2)"

"Stephen Mendillo – Jim Ahern (#6)"

"Yvan Ponton – Jean-Guy Drouin (#14)"

"Matthew Cowles – Charlie"

"Kathryn Walker – Anita McCambridge"

"Melinda Dillon – Suzanne Hanrahan"

"M. Emmet Walsh – Dickie Dunn"

"Swoosie Kurtz – Shirley Upton"

"Paul D'Amato – Tim "Dr. Hook" McCracken"

"Ronald L. Docken – Lebrun (#30)"

"Guido Tenesi – Billy Charlebois (#5)"

"Jean Rosario Tetreault – Bergeron (#8)"

"Christopher Murney – Tommy Hanrahan"

"Blake Ball – Gilmore Tuttle"

"Ned Dowd – Ogie Ogilthorpe"

"Andrew Duncan – Jim Carr"

"Nancy N. Dowd – Andrea"

"Barbara L. Shorts as Bluebird"

"Larry Block – Peterboro Referee"

"Paul Dooley – Hyannisport Announcer"

"Connie Madigan - Ross "Mad Dog" Madison"

"Ross Smith – Barclay Donaldson"

"Joe Nolan – Clarence "Screaming Buffalo" Swamptown"

"It's still on and we're goin'. Cyrus sent an emissary this afternoon to make sure. Now, Cyrus don't want anybody packed and he don't want anybody flexing any muscle. So, I gave him my word that the Warriors would uphold the truce. [pause] Now everybody says that Cyrus is the one and only. I think we better go have a look for ourself."

"[banging bottles together] Warriors, come out to play-i-ay!"

"[Swan demands a one-on-one fight and he pulls out a gun] One on one? You're crazy. You're dead, all of you, and you know it. You're dead."

"Masai: [addressing the Gramercy Riffs] Who are the Warriors? [no reply] There must be some word! [no reply] I want them all! I want ALL the Warriors! I want them alive, if possible. If not, wasted! But I want them. Send the word!"

"Mercy: Yeah, that's right, Warriors. Just keep walkin'. Real tough muthas, ain't ya? You guys don't show me much. Why don't you dickheads just walk all the way back home, huh?"

"D.J.: [last lines] Good news, Boppers: The big alert has been called off. It turns out that the early reports were wrong, all wrong. Now for that group out there that had such a hard time getting home, sorry about that. I guess the only thing we can do is play you a song. [the Warriors theme song, "In the City" plays]"

"What made it a success with young people... is that for the first time somebody made a film within Hollywood, big distribution, that took the gang situation and did not present it as a social problem. Presented them as a neutral or positive aspect of their lives. As soon as you said in the old days gang movies it was how do we cure the pestilence and how do we fix the social waste. We want to take these kids, make sure they go to college... This was just a movie that conceptually was different. Accepted the idea of the gang, didn't question it, that was their lives, they functioned within that context. And the social problem wasn't were they going to college, but were they going to survive. It's the great Hawksian dictum, where is the drama? Will he live or die? That's the drama."

"Hollywood forgives a lot when you have a hit. I don't know what to say about it, other than the fact that it was just a gift in terms of getting it. The studio hated it, and didn't even want to release it. There was a lot of friction with management at the time. Some of it might have been my fault."

"These are the Armies of The Night. They are 60,000 strong. They outnumber the cops three to one. They could run New York City. Tonight they're all out to get the Warriors."

"They outnumber the cops three to one."

"They are 60,000 strong."

"They could run New York City."

"Tonight they're all out to get the Warriors."

"Michael Beck - Swan"

"James Remar - Ajax"

"Dorsey Wright - Cleon"

"Brian Tyler - Snow"

"David Harris - Cochise"

"Tom McKitterick - Cowboy"

"Thomas G. Waites - Fox"

"Terry Michos - Vermin"

"Marcelino Sánchez - Rembrandt"

"Deborah Van Valkenburgh - Mercy"

"Roger Hill - Cyrus"

"David Patrick Kelly - Luther"

"Lynne Thigpen - D.J."

"Ginny Ortiz - Candy Store Girl"

"Mercedes Ruehl - Policewoman"

"John Snyder - Gas Station Man"

"Edward Sewer - Masai"

"Paul Greco - Sully, the Orphans leader"

"Well, you never know...you just never know. You just go along figuring some things don't change ever, like being able to drive on a public highway without someone trying to murder you. And then one stupid thing happens. Twenty, twenty-five minutes out of your whole life, and all the ropes that kept you hanging in there get cut loose, and it's like, there you are, right back in the jungle again. All right boy, it was a nightmare, but it's over now. [pauses] It's all over."

"[to himself, in Chuck's Cafe] I don't know, all I did was pass this stupid rig a couple of times, and he goes flying off the deep end. He has to be crazy. Okay, so he's crazy. What can I do about it? Find him a psychiatrist? Oh, boy. Now wait a minute. Now wait just a minute. All right, now, think. Okay, he's in here. Well, that doesn't mean he intends to continue his attack. It is lunchtime, and Chuck's Cafe may be the only place to eat for miles around. Yeah. He probably eats here all the time. He was just moving too fast before, and he had to slow down, turn around, that's all. That's all. [pause] Why didn't I leave right away when I saw his truck outside? Then I'd know what he intends to do. What if he followed me out, though? Started after me again? I'd be right back where I started; even if I got a lead, he'd overtake me soon enough. He's got some, some, some souped up diesel; my car's just not that powerful, I just can't break eighty and ninety miles an hour. As soon as I stop concentrating, I'd go back to sixty or seventy like I always do; it's a habit, I can't help it, he's just... [pauses] take it easy...just, take it easy."

"Fear is the driving force."

"The Killer's Weapon - A 40 Ton Truck"

"Terror in your rear view mirror."

"When the headlights of a truck become the eyes of a psychopath."

"The most bizarre murder weapon ever used!"

"A duel is about to begin between a man, a truck and an open road. Where a simple battle of wits is now a matter of life and death."

"Dennis Weaver - David Mann"

"Jacqueline Scott - Mrs. Mann"

"Eddie Firestone - Cafe Owner"

"Lou Frizzell - Bus Driver"

"Gene Dynarski - Man in Cafe"

"Lucille Benson - Lady at Snakerama"

"Tim Herbert - Gas Station Attendant"

"Charles Seel - Old Man"

"Shirley O'Hara - Waitress"

"Alexander Lockwood - Old Man in Car"

"Amy Douglass - Old Woman in Car"

"Dick Whittington - Radio Interviewer (voice)"

"Carey Loftin - The Truck Driver"

"The opening shot was inspired by Touch of Evil. Orson Welles did a couple of one-take sequences, but the most astonishing is not the opening sequence which everybody remembers. In a motel room, in the middle of the movie, a man is broken by Orson Welles’ character. It’s almost a reel-long one-shot. It’s astonishing. I was inspired by the idea of that. So in the opening scene, we were coming up on the outside of the house, around and up the back steps, and as we passed through a room going into another room the crew would re-light it behind us. We were just flying on the edge, but that was the spectacle, the money shot. Plus we had a naked girl upstairs! You couldn’t ask for more than that. There are a couple of cuts in that first shot. The mask allowed us to do a cut, and there were botched takes — we didn’t make it up the stairs, there was a camera shadow, something would happen. But it was fun."

"The mask that Michael Myers wore was written as “the pale features of a human face” – that’s what the script said. However, we had no money to manufacture such a thing, so what did you do? There were two options – one was a clown mask, which was a better mask, but the Captain Kirk mask was altered, spray painted, eye holes cut, with the hair. I don’t know if he knows the story."

"I didn’t think there was any more story, and I didn’t want to do it again. All of my ideas were for the first Halloween – there shouldn’t have been any more! I’m flattered by the fact that people want to remake them, but they remake everything these days, so it doesn’t make me that special. But Michael Myers was an absence of character. And yet all the sequels are trying to explain that. That’s silliness – it just misses the whole point of the first movie, to me. He’s part person, part supernatural force. The sequels rooted around in motivation. I thought that was a mistake. However, I couldn’t stop them from making sequels. So my agents said, ‘Why don’t you become an executive producer and you can share the revenue?’ But I had to write the second movie, and every night I sat there and wrote with a six pack of beer trying to get through this thing. And I didn’t do a very good job, but that was it. I couldn’t do any more."

"The Night HE Came Home!"

"HE came home for HALLOWEEN."

"Everyone is entitled to one good scare"

"Trick or treat... or die"

"Let's celebrate the horror"

"Happy Halloween!"

"The Trick Is To Stay Alive!"

"Donald Pleasence - Dr. Sam Loomis"

"Jamie Lee Curtis - Laurie Strode"

"Nancy Loomis - Annie Brackett"

"P. J. Soles - Lynda van der Klok"

"Charles Cyphers - Sheriff Leigh Brackett"

"Kyle Richards - Lindsey Wallace"

"Brian Andrews - Tommy Doyle"

"John Michael Graham - Bob Simms"

"Nancy Stephens - Marion Chambers"

"Tony Moran - Michael Myers (age 21)"

"Nick Castle - The Shape"

"Sandy Johnson - Judith Myers"

"At midnight on New Year's Eve, the S.S. Poseidon, en route from New York to Athens, met with disaster and was lost. There were only a handful of survivors. This is their story....."

"[Appealing to the survivors in the ballroom]: I wanna appeal to you the last time. I know this much; the sea's gonna keep pouring in, we're gonna keep settling deeper and deeper, we may even go under before we get up to the bottom to cut our way out! But it's something to try, it's a chance, we might make it. You stay here, you'll certainly die!"

"[Angry at the Doctor for leading his group of 44 the wrong way]: You're going the wrong way, DAMMIT! The BOW'S UNDERWATER!"

"[Sees a blast of steam blocking the last way out, yells in frustration] What more do You want of us?! We've come all this way, no thanks to You! We did it on our own, with no help from You! We did ask You to fight for us, but dammit, DON'T FIGHT AGAINST US! LEAVE US ALONE! How many more sacrifices?! HOW MUCH MORE BLOOD?! [jumps to the steam valve, the steam on the valve's wheel searing his hands, but he holds on] How many more lives?! [turns the wheel of the valve, despite the pain] Belle wasn't enough, Acres wasn't, now this girl?! You want another life, then TAKE ME! [the valve finally closes, clearing the final obstacle.] You can make it. Keep going, Rogo! Get them through! [lets go of the wheel and falls into the flaming water to his death]"

"[To Reverend Scott after Linda has fallen off a catwalk to her death]: You! Preacher! You lyin', murderin' son of a bitch! You almost suckered me in! I started to believe in your promises, that we had a chance! What chance? You took from me the only thing I ever loved in the whole world, my Linda. YOU KILLED HER!! [Rogo breaks down]: You killed her."

"I'm going next. So if old fat ass gets stuck in there, I won't get stuck behind her."

"You see, Mr. Scott? In the water, I'm a very skinny lady."

"Hell, Upside Down."

"At midnight on New Year's Day the S.S. Poseidon was struck by a 90-foot tidal wave and capsized."

"Who will survive in one of the greatest escape adventures ever!"

"Combining the talents of fifteen Academy Award Winners."

"Gene Hackman - Rev. Frank Scott"

"Ernest Borgnine - Det. Lt. Mike Rogo"

"Red Buttons - James Martin"

"Carol Lynley - Nonnie Parry"

"Roddy McDowall - Acres"

"Stella Stevens - Linda Rogo"

"Shelley Winters - Belle Rosen"

"Jack Albertson - Manny Rosen"

"Pamela Sue Martin - Susan Shelby"

"Arthur O'Connell - Chaplain John"

"Eric Shea - Robin Shelby"

"Leslie Nielsen - Captain Harrison"

"Enterprise, what we got back didn't live long... fortunately."

"It learns fast, doesn't it?"

"Your child is having a tantrum, Mr. Spock!"

"Spock, this child is about to wipe out every living thing on Earth. Now, what do you suggest we do? Spank it?"

"Well, Jim, I hear Chapel's an M.D. now. Well I'm going to need a top nurse... not a doctor who will argue every little diagnosis with me. And they probably redesigned the whole sick bay, too! I know engineers—they love to change things."

"This simple feeling, is beyond V'Ger's comprehension."

"The human adventure is just beginning."

"[to bounty hunter] Dyin' ain't much of a livin', boy."

"Hell with them fellas. Buzzards gotta eat, same as worms."

"There ain't no forgettin'."

"Now remember, when things look bad and it looks like you're not gonna make it, then you gotta get mean. I mean plumb, mad-dog mean. 'Cause if you lose your head and you give up then you neither live nor win. That's just the way it is."

"[while aiming his scoped rifle at a ferry rope] Well, Mr. Carpetbagger we've got something in this territory called the Missouri boat ride."

"Are you gonna pull those pistols or whistle 'Dixie'?"

"Sometimes, trouble just follows a man."

"We'll do without molasses. Anything from Missouri has a taint about it."

"[to Abe, his fellow bounty hunter] He's mean as a rattler, and twice as fast with them pistols."

"[to Lige] You pull his teeth, he's harmless as a heel hound. Always wanted to face down one of these pistol fighters they raise all the fuss about. Only way to handle them."

"I wore this frock coat in Washington, before the war. We wore them because we belonged to the five civilized tribes. We dressed ourselves up like Abraham Lincoln. We only got to see the Secretary of the Interior, and he said: "Boy! You boys sure look civilized.!" he congratulated us and gave us medals for looking so civilized. We told him about how our land had been stolen and our people were dying. When we finished he shook our hands and said, "endeavor to persevere!" They stood us in a line: John Jumper, Chili McIntosh, Buffalo Hump, Jim Buckmark, and me — I am Lone Watie. They took our pictures. And the newspapers said, "Indians vow to endeavor to persevere.""

"We thought about it for a long time, "Endeavor to persevere." And when we had thought about it long enough, we declared war on the Union."

"I didn't surrender neither. But they took my horse and made him surrender ... they have him pullin' a wagon up in Kansas, I'll bet."

"All I have is a piece of hard rock candy. But it's not for eating. It's just for looking through."

"You know, she thinks I'm some kind of a Cherokee chief."

"Clint Eastwood - Josey Wales"

"Chief Dan George - Lone Watie"

"Sondra Locke - Laura Lee"

"Bill McKinney - Terrill"

"John Vernon - Fletcher"

"Paula Trueman - Grandma Sarah"

"Sam Bottoms as Jamie"

"Geraldine Keams - Little Moonlight"

"Woodrow Parfrey - Carpetbagger"

"Joyce Jameson - Rose"

"Sheb Wooley - Travis Cobb"

"Royal Dano - Ten Spot"

"Matt Clark - Kelly"

"Will Sampson - Ten Bears"

"John Quade - Comanchero Leader"

"Richard Farnsworth uncredited, - one of the Comancheros"

"Kyle Eastwood uncredited, - Josey's son"

"Len Lesser - Abe"

"Doug McGrath - Lige"

"John Russell - "Bloody Bill" Anderson"

"John Chandler - first bounty hunter"

"[to Linda] I just wanted to say how sorry I am about Nick. And how, I know how much you loved him and I know that it will never be the same. I just wanted to tell you that."

"Okay. Okay!"

"[to Stanley] You wanna play games? All right, I'll play your fucking games."

"Here's to Nick."

"What is there to be afraid of in this war? The war is a joke, a silly thing...I pay my players - cash - American. However, should you prefer German marks or perhaps Swiss francs, that of course can be arranged."

"If you are really brave and lucky, I can make you very, very rich."

"When a man says no to champagne, he says no to life."

"Steven's mother: I still do not believe this. My own boy with a strange girl and not so thin, if you understand my meaning...The next thing you know, he goes to Vietnam...I do not understand, Father. I understand nothing anymore, nothing...Can you explain? Can anyone explain?"

"Steven's mother: You marry this girl, you leave her with me, and you go with these bums to Vietnam."

"Nick: Did you hear about the happy Roman? He was "GLAD HE ATE HER"!"

"Linda: I was hoping, somehow Michael, maybe you had Nick with you...He never wrote to me, he never called me."

"Axel: You're so full of shit, you're gonna float away."

"Steven: The place is great...It's like a resort...I mean they got basketball, bowling...Princess Grace came to see us the other day."

"Robert De Niro - Michael "Mike" Vronsky"

"John Cazale - Stanley "Stan" "Stosh""

"John Savage - Steven Pushkov"

"Christopher Walken - Nikonar "Nick" Chevotarevich"

"Meryl Streep - Linda"

"George Dzundza - John Welsh"

"Chuck Aspegren - Peter "Axel" Axelrod"

"Shirley Stoler - Steven's mother"

"Rutanya Alda - Angela Ludhjduravic-Pushkov"

"Pierre Segui - Julien Grinda"

"Mady Kaplan - Axel's girl"

"Amy Wright - Bridesmaid"

"Mary Ann Haenel - Stan's girl"

"Paul D'Amato - Sergeant"

"My mother died of pneumonia when I was just a kid. My father had kept their wedding cake in the freezer for ten whole years. After the funeral, he gave it to the yardman. He tried to act cheerful, but he could never be consoled by the little stranger he found in his house. Then, one day, hoping to begin a new life away from the scene of all his memories, he moved us from Texas to Ft. Dupree, South Dakota."

"Little did I realize that what began in the alleys and backways of this quiet town would end in the Badlands of Montana."

"He was handsomer than anybody I'd ever met. He looked just like James Dean."

"Kit went to work in the feedlot while I carried on with my studies. Little by little we fell in love. As I'd never been popular in school and didn't have a lot of personality, I was surprised that he took such a liking to me, especially when he could've had any other girl in town if he'd given it half a try. He said that I was grand, though, that he wasn't interested in me for sex and that coming from him, this was a compliment. He'd never met a fifteen year-old girl who behaved more like a grownup and wasn't giggly. He didn't care what anybody else thought. I looked good to him, and whatever I did was okay, and if I didn't have a lot to say, well, that was okay, too. Of course, I had to keep all this a secret from my dad. He would've had a fit, since Kit was ten years older than me and came from the wrong side of the tracks, so called. Our time with each other was limited and each lived for the precious hours when he or she could be with the other, away from all the cares of the world."

"In the stench and slime of the feedlot, he'd remember how I looked the night before, how I ran my hand through his hair and traced the outline of his lips with my fingertip. He wanted to die with me, and I dreamed of being lost forever in his arms....I didn't mind telling Kit about stuff like this, cause strange things happened in his life, too, and some of the stuff he did was strange. For instance, he faked his signature whenever he used it, to keep other people from forging important papers with his name."

"And as he lay in bed, in the middle of the night, he always heard a noise like somebody was holding a seashell against his ear. And sometimes he'd see me coming toward him in beautiful white robes, and I'd put my cold hand on his forehead."

"Did it go the way it was supposed to?...Is that all there is to it?...Gosh, what was everybody talking about?...Well, I'm glad it's over. For a while, I was afraid I might die before it happened. Had a wreck, or some deal like that."

"Kit made a solemn vow that he would always stand beside me and let nothing come between us. He wrote this out in writing, put the paper in a box with some of our little tokens and things, then sent it off in a balloon he'd found while on the garbage route. His heart was filled with longing as he watched it drift off. Something must've told him that we'd never live these days of happiness again, that they were gone forever."

"Then sure enough, Dad found out I'd been running around behind his back. He was madder than I'd ever seen him. As punishment for deceiving him, he went and shot my dog. He made me take extra lessons every day after school and wait there till he came to pick me up. He said that if the piano didn't keep me off the streets, maybe the clarinet would."

"Kit left a record playing over and over for the District Attorney to find. He was gambling for time."

"Kit made me get my books from school, so I wouldn't fall behind. We'd be starting a new life, he said. And we'd have to change our names. His would be James. Mine would be Priscilla. We'd hide out like spies, somewhere in the North, where people didn't ask a lot of questions. I could have snuck out the back or hid in the boiler room, I suppose, but I sensed that my destiny now lay with Kit, for better or for worse, and it was better to spend a week with one who loved me for what I was than years of loneliness."

"We hid out in the wilderness down by a river in a grove of cottonwoods. It being the flood season, we built our house in the trees, with tamarisk walls and willows laid side by side to make a floor. There wasn't a plant in the forest that didn't come in handy. We planned a huge network of tunnels under the forest floor, and our first order of business every morning was to decide on a new password for the day. Now and then, we'd sneak out at night and steal a chicken or a bunch of corn or some melons from a melon patch. Mostly, though, we just lay on our backs and stared at the clouds and sometimes it was like being in a big marble hall, the way we talked in low voices and heard the tiniest sound. They hadn't found but one set of bones in the ashes of the house, so we knew they'd be looking for us. Kit made sure we'd be prepared. He gave me lectures on how a gun works, how to take it apart and put it back together again, in case I had to carry on without him. He said that if the Devil came at me, I could shoot him with a gun."

"We had our bad moments, like any couple. Kit accused me of only being along for the ride, while at times I wish he'd fall in the river and drown, so I could watch. Mostly though, we got along fine and stayed in love. I grew to love the forest. The cooing of the doves and the hum of dragonflies in the air made it always seem lonesome and like everybody's dead and gone. When the leaves rustled overhead, it was like the spirits were whispering about all the little things that bothered 'em."

"One day, while taking a look at some vistas in Dad's stereopticon, it hit me that I was just this little girl, born in Texas, whose father was a sign painter and who had only just so many years to live. It sent a chill down my spine, and I thought - Where would I be this very moment if Kit had never met me? Or killed anybody? This very moment? If my Mom had never met my Dad? If she'd have never died? And what's the man I'll marry gonna look like? What's he doing right this minute? Is he thinking about me now, by some coincidence, even though he doesn't know me? Does it show on his face? For days afterwards, I lived in dread. Sometimes, I wished I could fall asleep and be taken off to some magical land, but this never happened."

"Kit felt bad about shooting those men in the back, but he said they'd come in like that, and they would've played it as down and dirty as they could. And besides, he'd overheard them whispering about how they were only interested in the reward money. With lawmen, it would've been different. They were out there to get a job done and they deserved a fair chance. But not a bounty hunter."

"Kit never let on why he'd shot Cato. He said that just talking about it could bring us bad luck and that right now, we needed all the luck we could get."

"Suddenly, I was thrown into a state of shock. Kit was the most trigger happy person I'd ever met. He claimed that as long as you're playing for keeps and the law is coming at ya, it's considered OK to shoot all witnesses. You had to take the consequences, though, and not whine about it later. He never seemed like a violent person before, except for once, when he said he'd like to rub out a couple of guys whose names he didn't care to mention. It all goes to show how you can know a person and not really know him at the same time."

"At this moment, I didn't feel shame or fear, but just kind of blah, like when you're sitting there and all the water's run out of the bathtub."

"The whole country was out looking for us, for who knew where Kit would strike next. Sidewalks cleared out, stores closed their doors and drew their blinds. Posses and vigilance committees were set up from Texas to North Dakota. Children rode back and forth to school under heavy guard. A famous detective was brought in from Boston. He could find no clues. People left their lights on when they went to sleep. My clarinet teacher said I probably wasn't responsible, but others said I was. Then, on Thursday, the Governor of Oklahoma sent out the National Guard to stand watch at the Federal Reserve Bank in Tulsa when word got out that Kit meant to rob it. It was like the Russians had invaded."

"The day was quiet and serene but I didn't notice, for I was deep in thought, and not even thinking about how to slip off. The world was like a faraway planet to which I could never return. I thought what a fine place it was, full of things that people can look into and enjoy."

"Sometimes he acts like there's something wrong with his bean. Hope nothing ever goes wrong with mine...He's kind of odd. They claim I've got him wrapped around my little finger, but I never told him to shoot anybody."

"Fearing there'd be roadblocks on the highways, we took off across that region known as the Great Plains. Kit told me to enjoy the scenery - and I did. "Rumor: Pat Boone is seriously considering giving up his career so he can return to school full-time and complete his education. Fact: Pat has told intimates that so long as things are going well for his career, it's the education that will have to take a back seat...Rumor: Frank Sinatra and Rita Hayworth are in love. Fact: True, but not with each other." Through desert and mesa, across the endless miles of open range, we made our headlong way, steering by the telephone lines toward the mountains of Montana. Kit would sometimes ram a cow to save on ammo, and we'd cook it. Once we had to eat a bunch of salt grass. It tasted like cabbage. For gas, we used the leakage from the valves of the pipelines we found along the way. Drip gas is what it's called in that part of the country. Little by little, we approached the border. Kit was glad to leave South Dakota behind and cursed its name. He said that if the Communists ever dropped the atomic bomb, he wished they'd put it right in the middle of Rapid City."

"We lived in utter loneliness, neither here nor there. Kit said that solitude was a better word, 'cause it meant more exactly what I wanted to say. Whatever the expression, I told him we couldn't go on living this way... "I feel like a, kind of like an animal living out here. There's no place to bathe and not any place to get anything good to eat."...In the distance, I saw a train making its way silently across the plain, like a caravan in The Adventures of Marco Polo. It was our first taste of civilization in weeks, and I asked Kit if we could have a closer look."

"He took and buried some of our things in a bucket. He said that nobody else would know where we'd put 'em, and that we'd come back someday, maybe, and they'd still be sitting here, just the same, but we'd be different. And if we never got back, well, somebody might dig 'em up a thousand years from now and wouldn't they wonder!"

"We took off at sunset, on a line toward the mountains of Saskatchewan, for Kit a magical land beyond the reach of the law. He needed me now more than ever, but something had come between us. I'd stopped even paying attention to him. Instead, I sat in the car and read a map and spelled out entire sentences with my tongue on the roof of my mouth, where nobody could read them. That night we moved closer to the border, and clear across the prairie, at the very edge of the horizon. We could make out the gas fires of the refineries at Missoula, while to the south, we could see the lights of Cheyenne, a city bigger and grander than I'd ever seen. I felt all kind of things looking at the lights of Cheyenne, but most important, I made up my mind to never again tag around with a hell-bent type, no matter how in love with him I was. Finally, I found the strength to tell Kit this. I pointed out that even if we got to the Far North, he still couldn't make a living."

"Kit knew the end was coming. He wondered if he'd hear the doctor pronounce him dead, or if he'd be able to read what the papers would say about him the next day, from the other side. He dreaded the idea of being shot down alone, he said, without a girl to scream out his name. Then, for an instant, the sight of the mountains in the dawn light got his hopes back up."

"Often, I've wondered what was going through Kit's head before they got him, and why he didn't make a run for it while he still had the chance. Did he figure they'd just catch him the next day? Was it despair? He claimed to having a flat tire, but the way he carried on about it, I imagine this is false."

"Kit and I were taken back to South Dakota. They kept him in solitary, so he didn't have a chance to get acquainted with the other inmates, though he was sure they'd like him, especially the murderers. Myself, I got off with probation and a lot of nasty looks. Later, I married the son of the lawyer who defended me. Kit went to sleep in the courtroom while his confession was being read, and he was sentenced to die in the electric chair. On a warm spring night, six months later, after donating his body to science, he did."

"Somebody dropped a bag on the sidewalk. Everybody did that, the whole town'd be a mess."

"I got it all planned - and, uh, I'm taking Holly off with me."

"[to Mr. Sargis] Suppose I shot you. How'd that be?"

"[on a recording] My girl Holly and I have decided to kill ourselves, same way I did her Dad. Big decision, huh? Uh, the reasons are obvious, and I don't have time to go into them right now. But uh, one thing, though. He was provoking me when I popped him. That's what it was like, a Pop! We're sorry, I mean, uhm, nobody's coming out of this thing happy, especially not us. I can't deny we've had fun, though. I mean, uhm, that's more than I can say for some. That's the end of the message. I run out of things to say. Thank you."

"I'll give you a dollar if you eat this collie."

"[on a recording] Listen to your parents and teachers. They got a line on most things, so don't treat 'em like enemies. There's always an outside chance you can learn something. Try to keep an open mind. Try to understand the viewpoints of others. Consider the minority opinion, but try to get along with the majority of opinion once it's accepted. Of course, Holly and I have had fun, even if it has been rushed, and uh, so far, we're doing fine, hadn't got caught. Excuse the grammar."

"You get a little money in your pocket, you think all your problems are solved. Well, let me tell you, they're not."

"Name's Carruthers. Believe I shoot people every now and then. Not that I deserve a medal."

"[to his arresting officers] Well, you boys have performed like a couple of heroes. And don't think I'm not gonna pass it around when we get to town."

"Don't worry now, I'm gonna get you off these charges. There's a whole lot of other boys out there waitin' for ya. You're gonna have a lot of fun. Boy, we rang the bell, didn't we? I'll say this though, that guy with the deaf maid? He's just lucky he's not dead, too. Course, uh, too bad about your dad...We're gonna have to sit down and talk about that sometime."

"In 1959 a lot of people were killing time. Kit and Holly were killing people."

"He was 25 years old. He combed his hair like James Dean. She was 15. She took music lessons and could twirl a baton. For a while they lived together in a tree house. In 1959, she watched while he killed a lot of people."

"Martin Sheen - Kit Carruthers"

"Sissy Spacek - Holly Sargis"

"Warren Oates - Holly's Father (Mr. Sargis)"

"Ramon Bieri - Cato"

"Alan Vint - Deputy"

"Gary Littlejohn - Sheriff"

"John Carter - Rich man"

"Bryan Montgomery - Boy"

"Gail Threlkeld - Girl"

"[repeated line] It's showtime, folks!"

"Sometimes, I don't know where the bullshit ends and the truth begins."

"[to Audrey] If I die, I'm sorry for all the bad things I did to you. [to Katie] And if I live, I'm sorry for all the bad things I'm gonna do to you."

"Do you suppose Stanley Kubrick ever gets depressed?"

"Stop smiling! Lay back! Lay back! Hold it, hold it, hold it. Candy, Casey, very good. You're gonna do it again, Victoria. Gary, Danny, let's go. Stop smiling, it's not the high school play. Count! Hold it. [to Victoria] Stand on your right foot. Point your left toe. Drop the shoulder. Now, that's not too hard, is it? Again!"

"The pain is gone. I'm OK. Nothing wrong with me a rewrite of the show wouldn't cure. A couple of good jokes is what I need."

""[to God, during the "hospital escape" scene]" What's the matter, don't you like musical comedy?"

"[last lines, Joe is dying] Hey, at least I won't have to lie to you anymore."

"Folks! What can I tell you about my next guest? This cat allowed himself to be adored, but not loved. And his success in show business was matched by failure in his personal relationship bag, now — that's where he really bombed. And he came to believe that work, show business, love, his whole life, even himself and all that jazz, was bullshit. He became numero uno game player — uh, to the point where he didn't know where the games ended and the reality began. Like, for this cat, the only reality — is death, man. Ladies and gentlemen, let me lay on you a so-so entertainer, not much of a humanitarian, and this cat was never nobody's friend. In his final appearance on the great stage of life — uh, you can applaud if you wanna — Mr. Joe Gideon!"

"[singing] Give it to me! Bye bye life, Bye bye happiness, hello loneliness, I think he's gonna die. Bye bye life, Bye bye happiness, Hello emptiness, I think he's gonna die. La, la, la, la, la, la, la, la, la. Goodbye your life, goodbye."

"Audrey Paris: You see, Sammy, in California everybody needs a car. I got a friend who bought a Mercedes just to get to the bathroom."

"Davis Newman: This chick, man, without the benefit of dying herself, has broken down the process of death into five stages: anger, denial, bargaining, depression, and acceptance. Sounds like a Jewish law firm. "Good morning, Angerdenialbargainingdepressionacceptance!""

"Davis Newman: There's all this bullshit about death with dignity. You know what death with dignity is, man? You don't drool."

"All that work. All that glitter. All that pain. All that love. All that crazy rhythm. All that jazz."

"Roy Scheider - Joe Gideon"

"Jessica Lange - Angelique"

"Leland Palmer - Audrey Paris"

"Ann Reinking - Kate Jagger"

"Cliff Gorman - David Newman"

"Ben Vereen - O'Connor Flood"

"Erzsebet Foldi - Michelle Gideon"

"Michael Tokan - Dr. Ballinger"

"Max Wright - Joshua Penn"

"William LeMassena - Jonesy Hecht"

"Deborah Geffner - Victoria Porter"

"John Lithgow - Lucas Sergeant"

"Jules Fisher - Jules"

"Chris Chase - Leslie Perry, film critic"

"Anthony Holland - Paul"

"Sandahl Bergman, Eileen Casey, Bruce Anthony Davis, Gary Flannery, Jennifer Nairn-Smith, Danny Ruvolo, Leland Schwantes, John Sowinski, Candace Tovar, and Rima Vetter - Principal dancers"

"Ben Masters - Dr. Garry"

"Robert Levine as Dr. Hyman"

"C. C. H. Pounder - Nurse Blake"

"Wallace Shawn - Assistant insurance man"

"Michael Hinton (uncredited) - band drummer"

"Oh, him? Name's Kelly. Used to be a lieutenant. Pretty good one, too. Till they gave orders to attack the wrong hill. Wiped out half a company of GI's. Somebody had to take the blame and he got picked."

"We see our role as essentially defensive in nature. While our armies are advancing so fast and everyone's knocking themselves out to be heroes, we are holding ourselves in reserve in case the Krauts mount a counteroffensive which threatens Paris... or maybe even New York. Then we can move in and stop them. But for 1.6 million dollars, we could become heroes for three days."

"[Listening to Kelly on the radio] Attack, attack, attack! Listen to this guy! That's the kinda fighting spirit I was talkin' about! If he's a major he's a colonel now!"

"I'm gonna decorate every man in this penetration unit, whoever they are. They saved the reputation of this entire army. [To his officers] You're the ones supposed to be fightin' this battle, and you don't even know where the hell it is! Well, I'll tell you where it is. It's thirty miles beyond where you thought it was. Booker! Come on, now, let's get this army of mine back in the war!"

"[Upon seeing Kelly, assuming Kelly is there to yell at him for shelling Kelly's unit by accident the previous night] Wait, Kelly, wait. Will you listen to me a second? Will ya listen to me! It's not me, I tell ya, it's not me! I - I can't tell one shell from another, they all look alike! They all look alike. If was me, if I could tell, would I be here? WOULD I BE HERE?! I wouldn't be here, Kelly!"

"Never have so few taken so many for so much."

"They set out to rob a bank... and damn near won a war instead!"

"Clint Eastwood - Private Kelly"

"Telly Savalas - Master Sergeant "Big Joe""

"Don Rickles - Staff Sergeant "Crapgame""

"Carroll O'Connor - Major General Colt"

"Donald Sutherland - Sergeant "Oddball""

"Gavin MacLeod - PFC "Moriarty""

"Shepherd Sanders - "the Turk""

"Stuart Margolin - Private "Little Joe""

"Jeff Morris - PFC "Cowboy""

"Hal Buckley - Captain Maitland"

"Richard Davalos - Private Gutowski"

"Perry Lopez - Private "Pachuco" Petuko"

"Tom Troupe - Corporal Job"

"Harry Dean Stanton - Private Willard"

"Len Lesser - Tech Sergeant Bellamy"

"David Hurst - Oberst Dankhopf"

"George Savalas - First Sergeant Mulligan"

"Karl-Otto Alberty - Tiger tank commander"

"Ross Elliott - Colonel Booker"

"Now, you boys just stay here and watch the car - might be some vandals around, wanna steal somethin'. So you boys just stay here and keep your hands on the car until one of my associates arrive. And don't go home. And don't go to eat. And don't play with yourself. Wouldn't look nice on my highway. You can think about it, but dooon't do it."

"She insulted my town! She insulted my son! [Junior starts to say something] Shaddup! She insulted my authority! And that's nothin' but pure and simple old-fashioned communism. Happens every time one of those dancers starts poon-tangin' around with those show-folk fags! I can see her now... runnin' back up that aisle. No, she was dancin' back up the aisle. Her knockers bouncin' all over the joint. Her ass was wigglin' too!"

"[On the CB radio, hailing the Bandit] You got trouble comin'. My handle is Smokey Bear, and I'm tail-grabbin' yo' ass right now!"

"[After trying to pass Snowman and being pit maneuvered] What we're dealing with here... is a complete lack of respect for the law."

"[Responding to a policeman who was unable to stop Bandit at a roadblock] You sumbitches couldn't close an umbrella!"

"Apology accepted. Now, [a truck passes by, blowing its air horn and conveniently obscuring his profanity] fuck off."

"[to Big and Little Enos] Oh, I love your suits. It must be a bitch finding suits size 68 extra fat and a 12 dwarf."

"[to Snowman's wife] I find it hard to look at you Waynette, especially when you've got those things in your hair. Makes me think you're listening to a radio station in Savannah."

"[On why he's going to make the run to Texas and back] For the good 'ol American life. For the money, for the glory, and for the fun. Mostly for the money."

"[In the middle of a car chase he explains to Carrie why they are being pursued] Oh, I forgot to tell 'ya. I'm running blocker for 400 cases of illegal booze!"

"[Carrie is hyperly saying she wants to jump something in the car] Oh, jump me."

"[Over radio to Sheriff Justice] I can't lie to you, Sheriff. You're too good a man."

"[Talking over CB radio] Hey, you got peanut butter or somethin' in your ears? Tell me what that woman's got on! (Pause) Her mind? [Laughs wildly] Ten-four!"

"You got the one Snowman! I'm eastbound and down!"

"[Writing out note for beer] Send... bill... to... Big... Enos... Burdette. (Trans-Am drives away) Burdette.. B... B-E-R... B-U-R... B... (Throws notepad aside) Hell, I got to go."

"[On the CB radio, about his dog] I'm gettin' worried about Fred here, he's lookin' a little thin in the skin!"

"Junior: [Chasing after his father, who is driving after the Bandit] Who's gonna hold your hat?!"

"Little Enos: [remarking to Big Enos about the Bandit's "legend" status] Well a legend and an out-of-work bum look a lot alike, Daddy!"

"What we're dealing with here is a complete lack of respect for the law."

"Time to take to the road, for a quiet little drive in the country...or not."

"Hold up on that carwash there, gentlemen. (to boys stripping Carrie's car)"

"Burt Reynolds — Bo "the Bandit" Darville"

"Jackie Gleason — Sheriff Buford T. Justice"

"Jerry Reed — Cledus "Snowman" Snow"

"Sally Field — Carrie"

"Paul Williams (songwriter) — Little Enos Burdette"

"Pat McCormick — Big Enos Burdette"

"Mike Henry — Junior"

"[To Katie] You hold on and I don't know how. And I wish I did. Maybe you were born committed... I can't get negative enough. I can't get angry enough. And I can't get positive enough."

"When you love someone, from Roosevelt to me, you go deaf, dumb and blind."

"The trouble with some people is they work too hard."

"What kind of pie?"

"[when Katie doesn't want to go to a party with Hubbell's friends] Maybe something terrible will happen - maybe you'll have a good time."

"[Katie proposes chucking politics in order to save their marriage] You're unhappy unless you do something. Because of me, you're trying to lay out, but that's wrong... wrong for you. Commitment is part of you. Part of what makes you attractive, part of what attracted me to you."

"You think you're easy? Compared to what, the Hundred Years' War?"

"Your girl is lovely, Hubbell."

"Happy Rosh Hashana."

"Everything seemed so important then .. even love!"

"Some memories last forever."

"Streisand and Redford together!"

"Barbra Streisand — Katie Morosky"

"Robert Redford — Hubbell Gardiner"

"Bradford Dillman — J.J."

"Lois Chiles — Carol Ann"

"Patrick O'Neal — George Bissinger"

"Viveca Lindfors — Paula Reisner"

"Allyn Ann McLerie — Rhea Edwards"

"Murray Hamilton — Brooks Carpenter"

"Herb Edelman — Bill Verso"

"Diana Ewing — Vicki Bissinger"

"Sally Kirkland — Pony Dunbar"

"George Gaynes — El Morocco Captain"

"James Woods — Frankie McVeigh"

"Susan Blakely — Judianne"

"Weather conditions have improved tremendously over the mainland, so you won't have any trouble at all seeing the target. Of course, we mustn't forget, that means that they won't have any trouble at all seeing you."

"General Dreedle: Get back in the car, you smirking slut!"

"Alan Arkin - Captain John Yossarian"

"Bob Balaban - Captain Orr"

"Martin Balsam - Colonel Cathcart"

"Buck Henry - Lt. Colonel Korn"

"Richard Benjamin - Major Danby"

"Susanne Benton - Dreedle's WAC"

"Marcel Dalio - Old Man in Whorehouse"

"Norman Fell - First Sgt. Towser"

"Art Garfunkel - Lt. Nately"

"Jack Gilford - Dr. "Doc" Daneeka"

"Charles Grodin - Captain "Aarfy" Aardvark"

"Bob Newhart - Captain/Major Major"

"Austin Pendleton - Lt. Col. Moodus"

"Anthony Perkins - Capt. Fr. A. T. Tappman"

"Paula Prentiss - Nurse Duckett"

"Martin Sheen - 1st Lt. Dobbs"

"Jon Voight - 1st Lt. Milo Minderbinder"

"Orson Welles - Brigadier General Dreedle"

"What's the worst thing you can say to anybody? Fuck you, mister! That's really weird, because if l wanted to hurt you, l should say, Unfuck you, mister Because fuck you is really nice, man."

"I'm not anti-Christ or anti-religion, l just think it's encouraging that people are leaving the Church and going back to God."

"[reading from "Time" magazine] Sick comic Lenny Bruce whose jokes about the President... Blah, blah, blah, blah. You know what's sick? Zsa Zsa Gabor will get $60,000 a week in Las Vegas, Nevada. And school teacher salaries in that state, top salary is $6,000 a year. Now, that's really sick! And that's the kind of sick l wish they would have written about."

"Are there any niggers here tonight? Can you turn on the house lights, please, and could the waiters and waitresses just stop serving, just for a second? And turn off the spot. Now what did he say? Are there any niggers here tonight? I know there's one nigger here; because, I see him back there working. Let's see. There's two niggers. And between those two niggers sits a kike. And there's another kike. That's two kikes and three niggers. And there's a spic, right? Hm? There's another spic. Ooh, there's a wop. There's a Polack. And then, oh, a couple of greaseballs. There's three lace-curtain Irish Micks. And there's one hip, thick, hunky, funky boogie. Boogie, boogie. Mm-mm. I got three kikes. Do I hear five kikes? I got five kikes. Do I hear six spics? Six spics. Do I hear seven niggers? I got seven niggers. Sold: American! I'll pass with seven niggers, six spics, five Micks, four kikes, three guineas, and one wop. You almost punched me out, didn't ya? I was trying to make a point and that is it's the suppression of the word that gives it the power, the violence, the viciousness. Dig. If President Kennedy would just go on television and say I'd like to introduce you to all the niggers in my cabinet. And if he'd just say nigger, nigger, nigger, nigger, nigger to every nigger he saw, boogie, boogie, boogie, boogie, boogie, nigger, nigger, nigger, nigger, nigger till nigger didn't mean anything anymore! Then you'd never be able to make some six year old black kid cry because somebody called him a nigger in school."

"That's where the conflict starts! We all want for a wife a combination Sunday school teacher and $500-a-night hooker."

"I am totally corrupt. I mean, really! My whole act. My whole economic success, whatever that is, is based solely on the existence of segregation, violence, despair, disease and injustice. And if, by some miracle, the whole world were suddenly tranquil, pure, I'd be standing on an unemployment line somewhere. So you see, I'm not a moralist. If I were, I'd be donating my salary to those schoolteachers. Right?"

"Please! Don't take away my words! They're just words! I'm not hurting anybody!"

"And it just cracks me up that we try so desperately to be unique when we're all the same cat - Eisenhower, Kennedy, Johnson, me, you, every cat has got that one chick who really busted up his ass!"

"There's no bigger test of how hip you really are than when your girlfriend becomes your wife."

"I really dig what they do with homosexuals in this country, man. They put 'em in prison - with a lot of other men. That's really good punishment."

"I'm a hustler. As long as they give, I'll grab."

"I seem to be under a little pressure here tonight to cool my act. l don't know how many of you know it, but l was arrested, busted, right here on this stage a few nights ago, for saying... No. I'm not gonna say it. Let's see. lt's an 11-letter word, it starts with a C and ends with a G. And it was used - it was used in the context of defending a certain homosexual practice. Actually, though, I don't relate it only to homosexuals. I relate it to any contemporary woman I know! Oh, yeah. Would know or love or marry. I'm sure you do, too, if you're honest, right? Okay, I'd like to ask you all a few questions now, okay? And you're all under oath, all of you. Even standing room only. How many people in this club here tonight have ever used that word: blah-blah-blah? Don't be shy, you can raise your hands. Well, that's cool. Now let's get really honest. You, sir, have you ever had your blah blahed? Hm? It's either yes or no. There's no two ways about it! Okay, how many men in this room have ever had their blah blahed?"

"I am of Semitic background. I'm Jewish. Now, a Jew, dictionary-style, is one who is descended from one of the ancient tribes of Judea or one who is regarded to have descended from that tribe. But, you and I know what a Jew really is: one who killed our Lord! Now, I don't know if it got much press coverage here on the West Coast, because that all happened a couple a thousand years ago. And although there should be a statute of limitations for the crime, we're still paying the dues. Why do you keep busting our balls for this crime? Why? Because you skirt the issue. You blame it on Roman soldiers. All right, I'm gonna clear the air once and for all, and confess. We did it. My family, I did it. We found a note in the basement, it said: We killed him, signed Morty. There's a good thing we nailed him when we did, because if we had done it within the last 50 years, we'd have to contend with generations of parochial schoolkids running around with little electric chairs hanging around their necks."

"Let's face it, guys are different. And ladies just don't understand this. Because to a lady, cheating means, I know, hugging and kissing and liking somebody. You have to at least like somebody. But, with guys, that doesn't enter into it, man. Because, guys are detached. They're different. You put a guy on a desert island, he'll do it to mud. A chicken. A barrel. Anything. A knothole. So, if you know this about guys, would you really feel hurt if you came home and found your husband sitting on the bed with a chicken?"

"OK, what is dirty? And what is clean? Now, if I had to make a choice, man, I would rather my kid watches a stag movie - than a clean movie, like "King of Kings". Why? Because "King of Kings" is full of killing, and l don't want my kid to kill Christ when he comes back. And that's what happens in "King of Kings". But tell me about a stag movie where anybody gets punched or killed, man. If you're lucky, you might see someone get tied up... or tapped lightly with a Hickok belt, but for the most part, all you really see during that hour and a half, man, is a lot of hugging and kissing, and moaning and groaning. Oh, God. And then, near the end of the movie, when that one potential instrument of death is revealed: the pillow. That tool the guy might smother the chick with, like in one of those horror flicks. He takes that pillow and gently slides it under the girl's ass. And they go off, and nobody gets hurt or killed. And it's nice! And that's the end of the movie."

"When I'm talking about tits and ass, I'm not up there to shock the audience by repeating those words: "tits and ass, ass and tits, and tits and ass! The point I'm trying to make is that we all live in a hypocritical society!"

"You need the deviate! Don't shut him up! You need that madman to stand up, tell you when you're blowing it! The harder you come down on the deviate, the more you need him!"

"Oh, I would say, uh, let's see, he was busted at least nine or ten times. Twice for possession of narcotics, and three, four times for obscenity."

"You do things on dope that normally wouldn't come into your mind to do."

"Rev. Mooney: He uses words as weapons, to hit people over the head with. To make them recognise they are being hypocritical in every phase of their lives. Words are his tools, and he uses them like a carpenter uses a hammer."

"Jack Goldstein: You'll see! You've got a rough road ahead of you, Sonny! Especially with your dirty mouth and your no-talent wife!"

"Lenny's Time Has Finally Come!"

"Lenny Said It. "Hot Honey" Did It. Together They Shocked America."

"Dustin Hoffman - Lenny Bruce"

"Valerie Perrine - Honey Bruce"

"Jan Miner - Sally Marr"

"Stanley Beck - Artie Silver"

"Rashel Novikoff - Aunt Mema"

"Gary Morton - Sherman Hart"

"Guy Rennie - Jack Goldman"

"Aldo Demeo - Bailiff"

"[to Adrian] I was wonderin' if, uh, you wouldn't mind marryin' me very much."

"[chasing a chicken] I feel like a Kentucky Fried idiot."

"[Adrian asks about Rocky's eyesight] I see fine. I see like a Beagle, or something."

"Man, I won, but I didn't beat him!"

"You're gonna eat lightnin'; you're gonna crap thunder."

"Hey Rock. It's three in the morning. I went up to your house there and they told me you was here. It's a 3:00am kid. You know that Adrian, she's a good girl. Me, you know I'm sorry for both of ya. There's nothing I can do about it. Except uh I wanna tell you this once and then uh I ain't gonna say it again. Well, Rocky, you got another shot. It's a second shot at the, I don't know, the biggest title in the world. And you're gonna be swappin' punches with the most dangerous fighter in the world. And just in case, you know, your brain ain't workin' so good, all this happens pretty soon and you ain't ready. You're nowhere near in any shape. So I say, you know, for God's sake, why don't you stand up and fight this guy hard?! Like ya done before? That was beautiful! But don't lay down in front of him like this! Like, I don't know, like some kind of mongrel or something. 'Cause he's gonna kick your face in pieces, you know that? That's right. This guy just don't wanna win, you know. He wants to bury ya, he wants to humiliate ya. He wants to prove to the whole world that you was nothing but some kind of a...a freak the first time out. And he said you're a one-time lucky bum. Well, now, I don't, I don't wanna get mad, in a biblical place like this, but I think you're a hell of a lot more than that, kid. A hell of a lot! No, wait a minute. If you wanna blow it, if you wanna blow this thing, damn it, I'm gonna blow it with ya. If you want to stay here, I'll stay with you. I'll stay with ya. Yeah. I'll stay and pray. What I got to lose?"

"There's one thing I want you to do for me. Win. Win!"

"Duke: [to Apollo about Rocky] He's all wrong for us, baby. I saw you beat that man like I never saw no man get beat before, and the man kept coming after you. Now, we don't need that kinda man like that in our lives. I know what you're feelin'. Let it go! Let it go! You're the champ."

"Duke: [to Apollo] You're the Man. You're number one. The Champ, the best of all time. Girls love you - Men, old people love you. Young people love you. You're the best. You're the Man, and he's yours. He's yours, he's yours. This bum shouldn't be in the same ring with you. I want you to show him who you are tonight. Show him who you are tonight. Stick him!"

"The Rematch Of The Century."

"The story continues..."

"The Italian Stallion is back!"

"Sylvester Stallone - Rocky Balboa"

"Talia Shire - Adrian"

"Burt Young - Paulie"

"Carl Weathers - Apollo Creed"

"Burgess Meredith - Mickey Goldmill"

"Tony Burton - Duke (Apollo's Trainer)"

"Joe Spinell - Tony Gazzo"

"Leonard Gaines - Agent"

"Sylvia Meals - Mary Anne Creed"

"But Doc, she was fifteen years old, going on thirty-five, Doc, and, uh, she told me she was eighteen and she was, uh, very willing, you know what I mean...I practically had to take to sewin' my pants shut. But, uh between you and me, uh, she might have been fifteen, but when you get that little red beaver right up there in front of ya, I don't think it's crazy at all now and I don't think you do either...No man alive could resist that, and that's why I got into jail to begin with. And now they're telling me I'm crazy over here because I don't sit there like a goddamn vegetable. Don't make a bit of sense to me. If that's what's bein' crazy is, then I'm senseless, out of it, gone-down-the-road, wacko. But no more, no less, that's it."

"I'm here to cooperate with ya a hundred percent. A hundred percent. I'll be just right down the line with ya, you watch. 'Cause I think we ought to get to the bottom of R. P. McMurphy."

"You wanna bet? One week. I bet in one week, I can put a bug so far up her ass she won't know whether to shit or wind her wristwatch."

"[to Billy] You're just a young kid. What are you doin' here? You oughta be out in a convertible, why – bird-doggin' chicks and bangin' beaver! What are ya doin' here, for Christ's sake? What's funny about that? Jesus, I mean, you guys do nothin' but complain about how you can't stand it in this place here and then you haven't got the guts just to walk out!"

"How about it? You creeps, you lunatics, mental defectives. Let's hear it for Bull Goose Randle back in action...You ding-a-lings. The Mental Defective League, in formation."

"[after his electric shock therapy] They, uh, was givin' me 10,000 watts a day, you know, and I'm hot to trot. The next woman takes me on's gonna light up like a pinball machine and pay off in silver dollars!"

"Jesus, I must be crazy to be in a loony-bin like this."

"But I tried, didn't I? Goddammit, at least I did that."

"If Mr. McMurphy doesn't want to take his medication orally, I'm sure we can arrange that he can have it some other way."

"Mr. Cheswick, you sit down!"

"Chief Bromden: Mac, they said you escaped. I knew you wouldn't leave without me. I was waiting for you. Now we can make it, Mac. I feel big as a damn mountain. Mac? [sees the lobotomy scars on McMurphy] Oh, no. [brings McMurphy close to him, hugging the comatose man] I'm not going without you, Mac. I wouldn't leave you this way. You're coming with me. [laying him down gently and preparing to kill him with mercy] Let's go."

"Charlie Cheswick: I want my cigarettes! Miss Ratched!"

"Charlie Cheswick: Rules?! PISS ON YOUR FUCKING RULES, MISS RATCHED!!"

"Jack Nicholson—Randle Patrick McMurphy"

"Louise Fletcher—Nurse Mildred Ratched"

"Will Sampson—Chief Bromden"

"Brad Dourif—Billy Bibbit"

"William Redfield—Harding"

"Michael Berryman—Ellis"

"Danny DeVito—Martini"

"Christopher Lloyd—Taber"

"Peter Brocco—Colonel Matterson"

"Dean R. Brooks—Dr. John Spivey"

"Alonzo Brown—Miller"

"Scatman Crothers—Orderly Turkle"

"Sydney Lassick—Charlie Cheswick"

"Dwight Marfield—Ellsworth, Dancing Patient"

"Phil Roth—Woolsey"

"Mimi Sarkisian—Nurse Pilbow"

"Mews Small—Candy"

"It makes me feel tingly all over and then nothing... There should be bells ringing, dams busting, bombs going off."

"[on the telephone with Dr. Young.] You gotta help me. I'm in love with Linda. We want to get married... thank you. There's only one problem - she needs a nine inch cock. I'm only 3 inches away from true happiness, is there anything you can do? You can? Really? [turning to Linda Lovelace] No problem, honey. He can cut it off as short as you want!"

"[while receiving cunnilingus] Mind if I smoke, while you're eating?"

"Do you wanna get off or do you wanna wreck a city?"

"No wonder you can't hear any bells! You don't have a tinkler!"

"The End. And Deep Throat to you all."

"Virtually every time someone watches that movie, they're watching me being raped."

"It is a crime that movie is still showing; there was a gun to my head the entire time."

"It is all very well and good for Linda Lovelace, the star of the movie, to advocate sexual freedom; but the energy she brings to her role is less awesome than discouraging. If you have to work this hard at sexual freedom, maybe it isn't worth the effort."

"Lovelace is almost a Ripley’s Believe-It-Or-Not as she takes the whole joint down her gullet. No, it’s not a small-potato penis but a roustabout rod of ten inches that plummets into the deepest recesses of our lady’s oral cavity. It seems a miracle. … I was never so moved by any theatrical performance since stuttering through my own bar mitzvah."

"Honey... Ronnie... Wake up. You're not gonna believe what I saw!... I never would have believed it. There was this, uh, in the cab, there was this... it was a red whoosh... You know those pictures in the National Geographic about the Aurora Borealis? This is better than that! Come on! Ronnie, I need you to see something with me. It's really important. [wakes his kids] Sylvia, come on. We're going on a little adventure. Toby! Brad! Come on. Get up. Up!... It's better than Goofy Golf! Come on!"

"I know this sounds crazy, but ever since yesterday on the road, I've been seeing this shape. Shaving cream, pillows...Dammit! I know this. I know what this is! This means something. This is important."

"I figured it out, that's all. Will you just listen?... Have you ever looked at something and it's crazy, and then you looked at it in another way and it's not crazy at all?... Don't be scared. Just don't be scared. I feel really good. Everything's gonna be all right. I haven't felt this good in years."

"Old Man: [about the UFOs] They can fly rings around the moon, but we're years ahead of them on the highway."

"Major Benchley: [holding up a photo] Ladies and gentlemen, this is a flying saucer. It's made of pewter, made in Japan, and thrown across the lawn by one of my children. I just wanted to point that out to you to show that we're not all polished brass about these things. Also to make a point that last year, Americans shot more than seven billion photographs at a record of 6.6 billion dollars for film, equipment and processing. Now with all those shutters clicking, where is the indisputable, photographic evidence?"

"Laughlin: We didn't choose this place! We didn't choose these people! They were invited!"

"We are not alone."

"Close Encounter of the First Kind - Sighting of a UFO. Close Encounter of the Second Kind - Physical Evidence. Close Encounter of the Third Kind - Contact. WE ARE NOT ALONE"

"Richard Dreyfuss - Roy Neary"

"François Truffaut - Claude Lacombe"

"Teri Garr - Ronnie Neary"

"Melinda Dillon - Gillian Guiler"

"Bob Balaban - David Laughlin"

"J. Patrick McNamara - Project Leader"

"Cary Guffey - Barry Guiler"

"Isaac Asimov: Well, I liked Star Wars. I thought Battlestar Galactica was such a close imitation of Star Wars, emphasizing the less attractive portions, that I was a little impatient with it. And as for Close Encounters, I'm afraid I detested that. It was too noisy and parts of it were just silly."

"The "dirtiest" Harry of them all!"

"First, there was 1971's "Dirty Harry, then "Magnum Force" in 1973. And now on the Bi-centennial year, Harry Callahan is "THE ENFORCER"."

"Clint Eastwood - Insp. Harry Callahan"

"Tyne Daly - Insp. Kate Moore"

"Harry Guardino - Lt. Al Bressler"

"Bradford Dillman - Capt. Jerome McKay"

"John Mitchum - Insp. Frank DiGiorgio"

"DeVeren Bookwalter - Bobby Maxwell"

"Albert Popwell - Big Ed Mustapha"

"John Crawford - The Mayor"

"Robert Hoy - Buchinski"

"Michael Cavanaugh - Lalo"

"Jocelyn Jones - Miki"

"Dick Durock - Karl"

"M.G. Kelly - Father John"

"Kenneth Boyd - Abdul"

"Rudy Ramos - Robber Mendez"

"Joe Spano - Robber Mitchell (uncredited)"

"...not as much as I am in the metamorphic or sedimentary rock categories. I mean I can take your igneous rocks or leave them. I relate primarily to micas, quartz, feldspar. You can keep your pyroxenes, magnetites and coarse-grained plutonics as far as I'm concerned..."

"Eunice!? This is a person named Eunice?"

"I love those old Ventegums."

"It so happens, Mr. Simon, that Howard has had discussions with Leonard Bernstein about the possibility of conducting an avalanche ... in E flat."

"Hi, Room Service, this is Room 1717. I would like a double-thick roast beef sandwich medium rare on rye bread with mustard on the top, mayonnaise on the bottom, and a coffee hot fudge sundae with a large bottle of diet anything. You got that? Yeah, Room 1717. Oh, and Room Service, would you put it in the hall outside the door. I mean, don’t bring it in or knock on the door because I’m just putting my little one to sleep. Thank you."

"What do you think I am, a piece of ripe fruit you can squeeze the juice out of and cast aside?"

"Why Ms. Burns, what are you doing in Mr. Banister's bedroom? Don't you know the meaning of propriety?"

"...you are not Burnsy. Burnsy is Burnsy, I mean Eunice is Burnsy, I mean she isn't Burnsy. Nobody is Burnsy."

"It's the television set, Eunice. There's a movie on—a war movie. They're getting dressed for the big battle."

"Well, there's not much to see actually, we're inside a Chinese dragon."

"The point is, the point is... oh god, I've forgotten my point."

"Why, those are Howard's. What on Earth are you doing with Howard Bannister's rocks?"

"Don't kick those rocks, you Philistine!"

"Don’t you know the meaning of propriety?"

"There is an old Croatian saying, Bollixter, which goes..."

"I find that story as difficult to swallow as I do this potage au gelée."

"I myself have a little announcement to make, that may be of some interest. My natural curiosity was aroused, an so I did a little research on Mr. Bankister and Miss Burns, and I think--"

"The slight mistake, Mesdames and Messieurs, is in the so-called identity of these alleged colleagues. I don't know who he is, but she is definitely not herself."

"For God's sake, don't shoot me, I'm part Italian."

"This is inexcusable. You can't come in here uninvited."

"Who is that dangerously unbalanced woman?"

"Don't you dare strike that brave unbalanced woman!"

"Snakes, as you know, live in mortal fear of tile."

"You will tell her you are smitten with her, that you had followed her all evening, and you will make passionate love to her."

"There is no Hans. There is only me, Fritz."

"I know how you feel, mister. I hate it when my igneous rocks are even touched!"

"You've made me smash my Life Savers."

"Tell them to bring straight jacket! In assorted sizes!"

"Do you see this yellow pill? You know what it's for? It's to remind me to take this blue pill!"

"I will get to the bottom of this if it takes me the rest of my life, which may end at any minute!"

"A screwball comedy. Remember them?"

"Barbra Streisand — Judy Maxwell"

"Ryan O'Neal — Dr. Howard Bannister"

"Madeline Kahn — Eunice Burns"

"Kenneth Mars — Hugh Simon"

"Austin Pendleton — Frederick Larrabee"

"It is the greatest mystery of all because no human being will ever solve it."

"Good morning. You are one day closer to the end of the world. You have been warned."

"Those who foretold it are dead. Those who can stop it are in grave danger."

"It is too much to be an accident, too strange to be a coincidence, too frightening to be ignored."

"It is the greatest mystery of all because no human being will ever solve it. It is the highest suspense because no man can bear it. It is the greatest fear because it is the ancient fear of the unknown. It is a warning foretold for thousands of years. It is our final warning. It is The Omen."

"If something frightening happens to you today, think about it. It may be a warning. It may be The Omen."

"Gregory Peck - Robert Thorn"

"Lee Remick - Katherine Thorn"

"David Warner - Keith Jennings"

"Billie Whitelaw - Mrs. Baylock"

"Harvey Stephens - Damien Thorn"

"Patrick Troughton - Father Brennan"

"Frank, were you on this religious kick at home, or did you crack up over here?"

"[to Major Margaret Houlihan] Oh, come off it, Major! You put me right off my fresh fried lobster, do you realize that? I'm going to go back to my bed, I'm going to put away the best part of a bottle of scotch . . . and under normal circumstances, you being normally what I would call a very attractive woman, I would have invited you back to share my little bed with me, and you might possibly have come. But you really put me off. I mean, you're what we call a regular army clown."

"Baby we're gonna see some stitching like you never saw before."

"[Trying to convince Lt. Dish to sleep with Painless.] You have the rare privilege that happens on certain occasions to chief executives of states or nations. You have the privilege of restoring a human being's life by a tender act of mercy."

"Let's give him a sexy scar, huh? Fantastic."

"Who am I? I am the pro from Dover, and this [Indicates Trapper John] is my favorite caddy."

"It's a good thing you have a nice body, nurse, otherwise they'd get rid of you quick."

"No. No food. Sex. I want sex. Bring me some sex. [The others call for Storch, but Trapper John points at Hot-Lips] No, no, no, that one. Bring me that one over there. That one. The sultry bitch with the fire in her eyes. Take her clothes off! I want that one, yes. Take her clothes off and bring her to me now."

"[As a helicopter attempts to land on the helipad where they are standing] I wish they wouldn't land those things here while we're playing golf."

"Well, you know, Man o' War, after they retired him from racing, they put him out to stud. And he had, on an average, uh, about a hundred and twenty, a hundred and thirty foals every year. And he lived to be thirty-six. And then when he died, they did an autopsy, and they found out that he was a raving queen."

"Look, mother, I want to go to work in one hour. We are the Pros from Dover and we figure to crack this kid’s chest and get out to the golf course before it gets dark. So you go find the gas-passer and you have him pre-medicate this patient. Then bring me the latest pictures on him. The ones we saw must be 48 hours old by now. Then call the kitchen and have them rustle us up some lunch. Ham and eggs will be all right. Steak would be even better. And then give me at least ONE nurse who knows how to work in close without getting her tits in my way."

"Oh, now damn it, Henry. Frank Burns is a menace! Every time a patient croaks on him, he says it's God's will or somebody else's fault."

"[Watching Frank Burns leave] Fair is fair, Henry. If I nail Hot Lips and punch Hawkeye, can I go home?"

"Take care of the squirrels."

"If a man isn't a man anymore . . . what's he got left that he should be living for?"

"I'm a fairy. A victim of latent homosexuality. I've turned into a fairy."

"[During football game] All right bud, your fucking head is coming right off!"

"[to Hawkeye] I like to think of the army as my home."

"[in the middle of sex] Oh, Frank, my lips are hot! Oh, kiss my hot lips!"

"[in the middle of sex] Oh, Frank, strangle me!"

"[to Henry] This isn't a hospital, it's an insane asylum!"

"[to Brigadier General Charlie Hammond] Ever since the dark days before Pearl Harbor, I have been proud to wear this uniform."

"Alright men, we're not here to sell lemonade, we're here to practice!"

"How do ya like them apples, Charlie?"

"Ho-Jon: Hawkeye? Duke say you better haul ass home quick. We got new chest cutter in our tent."

"P.A. Announcement: Attention. Captain Banning - er, Captain Bandini. [Exhales forcefully] Attention. Captain Bandini is now performing a femoral pop—a popli—a p-- a femoral P-O-P-L-I-T-E-R-A-L artery expli - exp - - exploration and possible graft."

"Capt. Murrhardt: Painless is a dentist, and a dentist shouldn't read. That's his whole problem."

"Capt. Bandini: Something in a marshmallow?"

"Pvt. Seidman: [Singing for Painless the Theme Song] Suicide is painless / it brings on many changes / and I can take or leave it / if I please"

"SSG Gorman: [Repeated line] Goddam Army..."

"M*A*S*H Hysteria"

"M*A*S*H Gives A D*A*M*N."

"You're not a real M*A*S*H fan until you've seen the original. (1982 re-release)"

"Donald Sutherland as Captain Benjamin Franklin "Hawkeye" Pierce, Jr."

"Elliott Gould as Captain "Trapper" John Francis Xavier McIntyre"

"Tom Skerritt as Captain Augustus Bedford "Duke" Forrest"

"John Schuck as Captain Walter Koskiusko "Painless Pole" Waldowski"

"Fred Williamson as Captain Oliver Harmon "Spearchucker" Jones"

"Sally Kellerman as Major Margaret J. "Hot Lips" Houlihan"

"Robert Duvall as Major Franklin Delano Marion "Ferret Face" Burns"

"Roger Bowen as Lieutenant Colonel Henry Braymore Blake"

"Carl Gottlieb as Captain "Ugly" John Black"

"Gary Burghoff as Corporal Walter Eugene "Radar" O'Reilly"

"René Auberjonois as Father Francis John Patrick "Dago Red" Mulcahy"

"Danny Goldman as Captain Dennis Murrhardt"

"Corey Fischer as Captain Patrick "Band-Aid" Bandini"

"Jo Ann Pflug as Lieutenant Maria "Dish" Schneider"

"Indus Arthur as Lieutenant Leslie"

"Dawne Damon as Lieutenant Wilma "Scorch" Storch"

"Tamara Horrocks as Captain Bridget "Knocko" McCarthy"

"David Arkin as Staff Sergeant Wade Douglas Vollmer/PA Announcer."

"Ken Prymus as Private First Class Seidman"

"Michael Murphy as Captain Ezekiel Bradbury "Me Lay" Marston V"

"Timothy Brown as Corporal Judson"

"Bud Cort as Private Warren Boone"

"G. Wood as Brigadier General Charles Hartington Hammond"

"Kim Atwood as Ho-Jon"

"Dale Ishimoto as Korean doctor"

"Bobby Troup as Staff Sergeant Gorman"

"Marvin Miller as PA Announcer"

"Get this fag out of here."

"Winslow, what a foolish thing to do. Didn't you read your contract closely? See where it says Terms of Agreement, can you read what it says? "This contract terminates with Swan." No more suicides, Winslow, you gave up your right to rest in peace when you signed this contract."

"Saturday, November 19, 1953. Today I have decided to kill myself. Being the greatest showman of my time, I am recording live for the Swan archives. Why? Simple, I'm getting old. Oh, I can't bear it. To see this beautiful face ravaged by the forces of time? If I can't be young forever, I'd rather end it all — now."

"Look at yourself. Look at yourself!"

"Your voice, remember? You promised me your voice! Our contract, remember?"

"All my dreams are lost and I can't sleep. Sleep alone could ease my mind. All my tears are dry and I can't weep. Old emotions may they rest in peace and dream. Dream a bunch of friends. Rest in peace and dream. Dream it never ends."

"But I'm innocent! Swan stole my music and framed me!"

"Never sing my music again. Not here, not anywhere. Do you understand? Never again. My music is for Phoenix. Only she can sing it. Anyone else who tries, dies!"

"I'm not a screamer. I'm a singer."

"Our love is an old love, baby. It's older than all our years. I have seen in strange young eyes Familiar tears."

"We're old souls in a new life baby. They gave us a new life To live and learn."

"Our paths have crossed and parted, This love affair was started Long, long ago. This love survives the ages In its story lives are pages Fill them up, may ours turn slow."

"Our love is a strong love, baby. We give it all And still receive."

"All souls last forever So we need never fear goodbye."

"In time, we kiss … Hello."

"The music made him do it!"

"He's been maimed and framed, beaten, robbed, and mutilated. But they still can't keep him from the woman he loves."

"The most highly acclaimed horror phantasy of our time."

"He sold his soul for rock 'n' roll."

"Paul Williams - Swan"

"William Finley - Winslow Leach/The Phantom"

"Jessica Harper - Phoenix"

"George Memmoli - Arnold Philbin"

"Gerrit Graham - Beef"

"Would ya just watch the hair? Ya know, I work on my hair a long time and you hit it. He hits my hair."

"(On the way into the 2001 Odyssey discothèque) Would you put your dick in a spic? Does it get bigger in a nigger?"

"You make it with some of these chicks, they think you gotta dance with them."

"Al Pacino! Attica! Attica! Attica!"

"There's ways of killing youself without killing yourself."

"You know what, Gus? I feel like breaking your broken legs!"

"Couldja dig it? I knew that ya could."

"Doreen: Can I wipe your forehead?"

"Bobby C.: My girlfriend, she loves the taste of communion wafers."

"Double J.: [to a girl he just got done having sex with] What did you say your name was?"

"Frank Manero Jr.: Tony, the only way you're gonna survive is to do what you think is right, not what they keep trying to jam you into. You let them do that and you're gonna be nothing but miserable."

"Where do you go when the record is over..."

"We want everyone to see John Travolta's performance... Because we want everyone to hear the #1 group in the country, the Bee Gees... Because we want everyone to catch "Saturday Night Fever"."

"John Travolta - Anthony "Tony" Manero"

"Karen Lynn Gorney - Stephanie Mangano"

"Barry Miller - Bobby C."

"Joseph Cali - Joey"

"Paul Pape - Double J."

"Donna Pescow - Annette"

"Bruce Ornstein - Gus"

"Val Bisoglio - Frank Manero, Sr."

"Julie Bovasso - Flo Manero"

"Martin Shakar - Frank Manero, Jr."

"Lisa Peluso - Linda Manero"

"Nina Hansen - Grandmother"

"Sam Coppola - Dan Fusco"

"Denny Dillon - Doreen"

"Bert Michaels - Pete"

"Fran Drescher - Connie"

"Monti Rock III - the DJ"

"Hi. Another day, another dollar."

"[To a bust of Julius Caesar set up near a chessboard] Your move, Imperator."

"[makes drink] Join me? Hmm? Miserable schmuck! [to his own image on the video screen]"

"Isn't he? Isn't he a sullen b- [stops when he hears the "Family" outside]"

"[to the "Family"] SHUT UP! Why the hell can't you leave me alone?"

"[later, to the bust of Caesar] What day is it, anyway? Monday? Huh? The hell it is. It's Sunday. Sunday I always dress for dinner."

"[first lines, as the last man on earth wrecks his car] There's never a cop around when you need one."

"[Enters a car dealership in search of a new car, talks to a decomposed corpse of a car salesman] Cannot say I am too crazy about the paint job...Thanks a lot you cheating bastard."

"[talking to his own image on a TV screen] Hi, Big Brother, how's your ass?"

"[hearing the "Family" loudly holding a book-burning revel] At it again, I see? What will it be tonight? Museum of Science? Some library? Poor miserable bastards."

"You know the old song? If you were the only girl in the world, and I was the only boy, well, okay, but until then, don't bother me? Well, I guess I'm the only boy...."

"And Speedy Bob Neville- his great legs churning goes speeding across the finish line with a three minute and fifty second mile. Go ahead, let's see some son-of-a-bitch beat that."

"[Unsure whether or not he saw a healthy human woman or if it just his imagination] Is this how it starts? A trip to the laughing academy? No, you silly bastard, it starts with you asking yourself silly questions. Okay, let's get cleaned up."

"We were warned about The End. Well, here it is."

"Take him to the little room... for questioning."

"Here is the instrument of cleansing, my brethren. And nothing quite cleanses like fire."

"Lisa: Is there anything you can do, DOCTOR, I mean, seeing as how you've lost over 200 million patients?"

"Army officer: [during Neville's flashback to the military conflict] Abort firing! Abort firing! Interception will fragment bacilli carrying missile! Abort firing! Abort firing!"

"The Last Man always carries an automatic weapon."

"The Last Man on Earth is Not Alone"

"Pray for the last man alive. Because he's not alone."

"The World Is Dead. One Survivor. Then The Others. Crawling In Darkness. The Strangest Sect Of All. Hunting The Last Man On Earth."

"Charlton Heston - Neville"

"Anthony Zerbe - Matthias"

"Paul Koslo - Dutch"

"Rosalind Cash – Lisa"

"Eric Laneuville - Richie"

"No rain, he tells me. No rain, he says. No rain! Fucking weather man!"

"[screams and curses in Spanish] My hairs! Not my hairs!"

"[after kissing Proclo] Oh, my boyfriend Hectar see me do that, he kill you with a knife this big! [touches her elbow]"

"Some day, you're going to see the name of Googie Gomez in lights and you're going to say to yourself [gasps] was that her? And you're gonna answer to yourself, [gasps] that was her! But you know something, mister? I was always her, just that nobody knows it!"

"Plastic Puerto Ricans!"

"Who the hell was that?!"

"[amazed] Ronald Reagan?!"

"Do I look like someone who would try to pass a bad check? Yeah? Yeah, of course I do!"

"Chubby chaser. Hey, that's pretty funny. Unless you happen to be the chubby they're chasing."

"Jelly roll, baby! You're my jelly roll man!"

"If you're not down in my room in five minutes, then I'm gonna come up here and break your knees!"

"I'm going straight."

"It's like some strange heterosexual gypsy curse was put on this place!"

"There will be an orgy beginning in room 340 in exactly 4 minutes! Orgy in 340, 4 minutes!"

"Customer: Did they ever put you on 4? It's Siberia up there!"

"Tiger: Alright, fat man, leave the little guy alone! What do you think this is, a YMCA?"

"Brick: One of those transvestites is standing right next to me. I can't talk now, I think he's surrounding me for unnatural things! And: See anything you like, Bud?"

"Man in Elevator: There's a reason some of us don't ride the subway. I'm looking right at it."

"Abe: We've got a nightclub, movies, swimming pool, steam room, massage table, discotheque, bridge, amateur night, and free blood tests every Wednesday."

"The funny season begins when you check in for a night at The Ritz."

"Hiding out from the Mafia can be an awful drag!"

"...your key to hilarity."

"Jack Weston - Gaetano Proclo"

"Rita Moreno - Googie Gomez"

"Jerry Stiller - Carmine Vespucci"

"Kaye Ballard - Vivian Proclo"

"F. Murray Abraham - Chris"

"Paul B. Price - Claude Perkins"

"Treat Williams - Michael Brick"

"John Everson - Tiger"

"A man's got to know his limitations."

"Nothing wrong with shooting as long as the right people get shot."

"I asked if you knew where San Quentin is, and you do, don't you asshole?"

"Couldn't have happened to a nicer bunch of guys."

"Prostitute: [to cabdriver] Too bad you're not on welfare, I'd give you a freebie."

"Clint Eastwood is Dirty Harry in Magnum Force"

"Clint Eastwood is back in 'Full Force' as Dirty Harry in "Magnum Force.""

"Clint Eastwood as Inspector Harry Callahan"

"Hal Holbrook as Lt. Neil Briggs"

"David Soul as Officer John Davis"

"Tim Matheson as Officer Philip Sweet"

"Kip Niven as Officer Alan "Red" Astrachan"

"Robert Urich as Officer Michael Grimes"

"Felton Perry as Inspector Earlington "Early" Smith"

"Mitchell Ryan as Officer Charles "Charlie" McCoy"

"Margaret Avery as Prostitute"

"Bob McClurg as Cab Driver"

"John Mitchum as Inspector Frank DiGiorgio"

"Albert Popwell as J.J. Wilson"

"[luring the shark towards a power cable] All right, you big b*stard! Come on! I've got something for ya now! That's it! Attaboy, come on! Right over here! Open wide! OPEN WIDE! SAY, "AAH"!"

"Just when you thought it was safe to go back in the water..."

"One good bite deserves another!"

"The legend continues."

"[from trailers] In all the vast and unknown depths of the ocean, how could there have been only one?"

"[from trailers] After the sensational return of Jaws to the screen, what could possibly be more terrifying than Jaws 2?"

"Roy Scheider - Chief Martin Brody"

"Lorraine Gary - Ellen Brody"

"Murray Hamilton - Mayor Larry Vaughan"

"Joseph Mascolo - Len Peterson"

"Jeffrey Kramer - Deputy Lenny Hendricks"

"Collin Wilcox - Dr. Lureen Elkins"

"Ann Dusenberry - Tina Wilcox"

"Mark Gruner - Michael Brody"

"Barry Coe - Tom Andrews"

"Susan French - Grace Witherspoon"

"Gary Springer - Andy Williams"

"Donna Wilkes - Jackie Peters"

"Gary Dubin - Eddie Marchand"

"John Dukakis - Paul 'Polo' Loman"

"G. Thomas Dunlop - Timmy Weldon"

"David Elliott - Larry Vaughn Jr."

"Marc Gilpin - Sean Brody"

"Keith Gordon - Doug Fetterman"

"Cynthia Grover - Lucy"

"Ben Marley - Patrick"

"Martha Swatek - Marge"

"Billy Van Zandt - Bob"

"[the phone rings] Hello? What number are you calling? You've dialed the wrong number! SORRY? What good is that? How can you ever repay the 30 seconds you have STOLEN FROM MY LIFE! I hate you, your husband, your children and your relatives!"

"[the children are playing doctor in the nude] Sodomites! Caught right in a sex orgy! You dirty filthy...! Is that what you learned in private school?! Nude, nude, nude! You could be pregnant, Beth! And as for you, I never thought you would rape your own SISTER! Oh God, the children are having SEX!"

"Am I living in hell?! Is that it?! Have I gone straight to hell?!"

"You know I hate nature! Look at those disgusting trees, stealing my oxygen!"

"You're just like the rest of the common dykes in this town!"

"Good God almighty."

"[comes into the room wielding a broom] Back off, asshole!"

"[while sitting on Mr. Gravel's face] Down, down, down, down, down, down, down! Down, down, down, down, down!"

"[to Peggy] I am sick of listenin' to your bitchin'. The next time you feel a fit comin' on, go outside and bitch. Bitch at the air. Bitch at the trees. But don't bitch at us!"

"to Mr. Gravel I don't want no white man lookin' at my Tampax!"

"to Peggy I ain't your maid anymore, bitch! I'm your sister in crime!"

"Take them to our ugly expert, and give them a complete overhaul!"

"[while having sex with one of her guards] Oh, that love muscle! Whip it out and show it hard! Oh come on daddy, fuck me! Oh grow little inchworm!"

"That little MF!"

"Hey morons, you got your clothes on backwards!"

"I hope you didn't leave no pecker tracks on my gown!"

"Seize her and fuck her!"

"Come on, bitch! Eat some dog food! Eat it! Eat it, you bitch! Put my baby in the refrigerator!"

"I'm so hungry I could eat cancer!"

"[talking to her breasts] Hi big boys! I bet you didn't know Mommy won the Maryland lottery, yes! I'm going to be buying you lots of new push-up bras, so get ready for your new home! Things are going to be looking up for you two!"

"Good old germ-carrying American currency!"

"Now I won't have any organs! It'll be like having a Barbie doll crotch!"

"I'm going to BLOW YOUR BOWELS OUT!"

"Officer: You like lingerie?! How do you like these little numbers? I sent away to 'em from Fredrick's. They was expensive. I love the feel of cold nylon on my big butt!"

"Princess Coo-coo: Herbert doesn't care if I have ears, he only cares about my mind!"

"Flipper: You lazy bitch! I'm out working my tail off all day and you're in there fucking midgets!"

"Liz Renay - Muffy St. Jacques"

"Mink Stole - Peggy Gravel"

"Susan Lowe - Mole McHenry"

"Edith Massey - Queen Carlotta"

"Mary Vivian Pearce - Princess Coo-Coo"

"Jean Hill - Grizelda Brown"

"This beautiful mobile home you see before you is the current hideout of the notorious beauty Divine, the filthiest person alive!"

"[after Raymond exposes himself to a transsexual in the park, and, shocked, runs away] That is not the only shock you have before you, Raymond Marble, because at this exact moment Divine has learned of your jealous scheme from the local town gossip. She also has your address, ass hole!"

"[last lines] "The filthiest people alive?" Well, you think you know someone filthier? Watch as Divine proves that not only is she the filthiest person in the world, she's also the filthiest actress in the world! What you are about to see is THE REAL THING!"

"I haven't fallen in love for three whole days!"

"The next package you bring me is getting shoved right up your little ass, can you comprehend that?!"

"Oh my God Almighty! Someone has sent me a BOWEL MOVEMENT!"

"You know who I am, bitch! I'm the filthiest person alive, that's who I am!"

"Gentlemen, the verdict is in. Guilty on all 10 charges of first-degree stupidity."

"You stand convicted of asshole-ism."

"Oh my God,you stupid idiot motherfucker!Connie,go away!"

"I'll burn you to death,stupid bitch!"

"Hold these goddamn chickens!"

"Mama, nobody sends you a turd and expects to live. Nobody!"

"Do my balls, Mama!"

"I guess there's just two kinds of people, Miss Sandstone, my kind of people, and assholes. It's rather obvious which category you fit into."

"We'll see who's the filthiest person alive! We'll JUST SEE!"

"Babs Johnson, oh what a stupid fucking name! She sounds like a chimpanzee on a tire swing."

"Oh I love you Raymond. I love you more than anything in this whole world! I love you even more than my own filthiness! More than my hair color! More than the sound of bones breaking! The sounds of death rattles! Even more than my own SHIT do I love you, Raymond!"

"How can a couch be out of order?!"

"Sandy Sandstone: Eat the bird, bitch!"

"Cookie: I may have to degrade myself in front of Divine's son. He's into a very strange sex scene."

"Edie: Eggs! Eggs! Eggs!"

"Birthday Card: Happy birthday, fatso."

"Cotton: Murder merely relieves tension."

"An exercise in poor taste."

"The filthiest people alive! Their loves, their hates and their unquenchable thirst for notoriety!"

"Divine - Divine / Babs Johnson"

"David Lochary - Raymond Marble"

"Mary Vivian Pearce - Cotton"

"Mink Stole - Connie Marble"

"Danny Mills - Crackers"

"Edith Massey - Edie"

"Channing Wilroy - Channing"

"Cookie Mueller - Cookie"

"Paul Swift - The Egg Man"

"Never before has the beauty of the sexual act been so crassly exploited!"

"Brutal! Savage! Beyond Perversion!"

"[after decapitating a prisoner] Now take him to be tortured!"

"We are building a fighting force of extraordinary magnitude. We forge our spirits in the tradition of our ancestors. You have our gratitude."

"[telephone rings, answering machine picks up] Herro. This is Dr. Klahn. I'm not home right now. Leave a message when you hear the beep. You have our gratitude. [gong sound]"

"No! Not water! Ah! Ah! Ah! Ohhh! I'm melting! I'm melting! What a world, what a world! It was a fighting force of extraordinary magnitude!"

"Although, so far there's no known treatment for death's crippling effects, still everyone can acquaint himself with the three early warning signs of death: one, rigor mortis; two, a rotting smell; three, occasional drowsiness."

"In the past year, over 800,000 Americans have died. Despite millions of dollars of research, death continues to be our nation's number one killer."

"It is also important to know what to do you when you die. 1) Don't try to drive a car. 2) Do not operate heavy machinery. 3) Do not talk."

"The popcorn you are eating has been pissed in, film at eleven."

"I'm not wearing any pants, film at eleven."

"Moscow in flames, missiles headed to New York, film at eleven."

"Rams plagued by fumbles as earthquakes rock Los Angeles, film at eleven."

"Argon Spokesman: Here at our multi-billion dollar refinery in Fairbanks, we're extracting 2.5 billion barrels of crude oil each day from teenagers' faces."

"Argon Spokesman: At Argon, we're working to keep your money!"

"A.M. Newscaster: It's 19 minutes after the hour, and now it's time for our daily feature The Astrological Hour. A quick reminder these reports are not intended to foster belief in astrology, but merely to support people who cannot take responsibility for their own lives."

"Loo: What was that? This is not a chawade. We need total concentwation."

"Announcer: It's been said that the test of a man's courage is how he performs in the face of danger. Well, in the next half hour, you're gonna meet a very unique breed of cat. The kind of man who doesn't know the meaning of the word fear. Rex Kramer, part-time airline mechanic, full-time daredevil. A man willing to risk his life for the sake of adventure. He has to chase it, confront it, and whip it. Rex Kramer, Danger Seeker!"

"Game Show Announcer: Guard number one is a senior on Klahn's mountain, and aspires to be a research chemist. Welcome, please, Hung Well! Guard number two is a real skating buff. A warm welcome for Long Wang! Traveling comes naturally to guard number three, as he's a licensed airplane pilot. Welcome, please, Enormous Genitals!"

"Pennington: Klahn has been connected with every sort of nefarious activity. You name it - opium, weapons traffic, assassination, motion picture distribution..."

"Mrs. Hefsteder: Three years ago our Johnny died. We thought there was no hope, but then we discovered the United Appeal for the Dead. They showed us that despite Johnny's handicap, he could still be a useful member of our family and the community. Our United Appeal for the Dead caseworker showed us that the absence of life from Johnny's body didn't have to mean his absence from our daily lives."

"PA Announcement: This is not a drill - drills go Black-and-Decker-Black-and-Decker-Black-and-Decker..."

"Bill Bixby - Himself (segment "Headache Clinic")"

"Marilyn Joi - Cleopatra Schwartz (segment "Cleopatra Schwartz")"

"Tony Dow - Wally (segment "Courtroom")"

"George Lazenby - The Architect (segment "That's Armageddon")"

"Donald Sutherland - The Clumsy Waiter (segment "That's Armageddon")"

"Tara Strohmeier - Girl (segment "Eyewitness News")"

"Bong Soo Han - Dr. Klahn (segment "A Fistful of Yen")"

"Evan C. Kim - Loo (segment "A Fistful of Yen")"

"Eric Micklewood - Asquith (segment "A Fistful of Yen")"

"Derek Murcott - Pennington (segment "A Fistful of Yen")"

"Henry Gibson - Himself (segment "United Appeal for the Dead")"

"William Tregoe - John Fitzsimmons (segment "A.M. Today")"

"Eloise Hardt - Sheila Hamilton (segment "A.M. Today")"

"Yes folks, this isn't any cheap X-rated movie or any 5th rate porno play, this is the show you want! Lady Divine's cavalcade of perversions, the sleaziest show on earth! Not actors, not paid impostors, but real actual filth who have been carefully screened in order to present to you the most flagrant violation of natural law known to man! These assorted sluts, fags, dykes and pimps know no bounds! They have commited acts against God and nature, acts that by their mere existence would make any decent person recoil in disgust!"

"[going through someone else's wallet] What ugly children they have!"

"Ricky! Ricky! Bring me something strong, something I can get off on!"

"If it wasn't for me you'd still be back in Boston doing poodle-nappings from those old bitches."

"I was in agony! I had been raped before but never in such an unnatural and brutal way!"

"It was then that I realized that she was using her rosary as a tool of erotic pleasure! She made me get into a kneeling position. My head was spinning. And all at once, she inserted her rosary into one of my most private parts!"

"I usually sleep in churches, you know, in the confessionals. They lock all the churches up at night now because of all the thieves and they never check the confessionals. Saturday nights are the only problem, and nights that are holy days because of early masses the next day. And Lent, shit, forget it, I gotta hang in synagogues then, and it's just not the same thing if you know what I mean."

"Oh, Jesus, you're my first celebrity I ever gave a rosary job to! And at St. Cecilia's, oh, wow, imagine!"

"Divine - Lady Divine"

"David Lochary - Mr. David"

"Mary Vivian Pearce - Bonnie / Cavalcade Patron"

"Mink Stole - Mink / Cavalcade Patron"

"Cookie Mueller - Cookie Divine / Cavalcade Patron"

"Edith Massey - Edith / Virgin Mary"

"Susan Lowe - Cavalcade pervert"

"Rick Morrow - Ricky"

"[At a meeting of senior officers discussing the potential for recalling the fleet if a peaceful solution is reached, some officers are disheartened about it and voice their thoughts. Yamamoto will have none of it]"

"[after Japanese officers in the Nagato wardroom applaud him over news of the Pearl Harbor attack announced on Japanese radio] I had intended to deal a fatal blow to the American fleet by attacking Pearl Harbor immediately after Japan's official declaration of war. But according to the American radio, Pearl Harbor was attacked 55 minutes before our ultimatum was delivered in Washington. I cannot imagine anything that will infuriate the Americans more. I fear all we have done is to awaken a sleeping giant and fill him with a terrible resolve."

"Admiral Chuichi Nagumo: [addressing the fleet] The Commander-in-Chief has sent us a message wishing us good luck. That, plus the Imperial Proclamation, has undoubtedly stirred your loyalty to the Empire. The success of this mission depends on surprise. If we achieve it, the code words "Tora, Tora, Tora" will be sent out. Now that the battle draws near, I will not burden you with the usual pep talk. Instead I shall hoist the famous "Z Flag," beneath which, Commander-in-Chief Togo led his fleet to victory in the historic battle against the Russians."

"Capt. Kameto Kuroshima AKA Gandhi: [fumes at being invited to a luncheon meeting with Yamamoto and other officers] Please don't bother me! This is important matter for the Combined Fleet, so I'm not going! [slaps hand on Operation Z ops plan] Genda's plan for attacking Pearl Harbor is foolproof. It's brilliant! He stresses the importance of combat aircraft. [goes into trance as officer slips away] Just think of it, we use six aircraft carriers...torpedo planes, high-level bombers, dive bombers...Zero fighters for cover. Go the northern route, use the new torpedoes...we attack on a weekend. Genda has thought of everything... refueling, the weather."

"The incredible attack on Pearl Harbor."

"From 20th Century Fox. The most spectacle film ever made."

"The incredible attack on Pearl Harbor as told from both the American and Japanese sides."

"The most spectacular film ever made."

"Martin Balsam - Admiral Husband E. Kimmel"

"So Yamamura - Admiral Isoroku Yamamoto"

"Joseph Cotten - Secretary of War Henry L. Stimson"

"Tatsuya Mihashi - Commander Minoru Genda"

"E. G. Marshall - Colonel Rufus S. Bratton"

"James Whitmore - Vice Admiral William F. Halsey"

"Takahiro Tamura - Commander Mitsuo Fuchida"

"Eijiro Tono - Vice Admiral Chuichi Nagumo"

"Jason Robards - Lieutenant General Walter C. Short"

"Wesley Addy - Lieutenant Commander Alwin D. Kramer, Cryptographer"

"Shogo Shimada - Admiral Kichisaburo Nomura"

"Frank Aletter - Lieutenant Commander Francis J. Thomas"

"Koreya Senda - Prime Minister Prince Fumimaro Konoe"

"Leon Ames - Secretary of the Navy Frank Knox"

"Junya Usami - Admiral Zengo Yoshida"

"Richard Anderson - Captain John B. Earle"

"Norman Alden as Major Truman Landon"

"Kazuo Kitamura - Foreign Minister Yosuke Matsuoka"

"Keith Andes - General George C. Marshall"

"Susumu Fujita - Rear Admiral Tamon Yamaguchi"

"w:Edward Andrews - Admiral Harold R. Stark"

"Bontaro Miyake - Admiral Koshiro Oikawa"

"Neville Brand - Lieutenant Harold Kaminski"

"For me, the greater the odds, the greater the shal-ahnje. And, as always, I accept the shal-ahnje."

"Nothing worthwhile is ever easy; that is why I have always failed where others have succeeded."

"Most ingenious. The old closet ploy. I really must congratulate you; if there's one thing I enjoy, it's a good closet ploy."

"Good evening, commissioner. How are you, how is madame and all the little commissioners?"

"Until we meet again and the case is solv-ed."

"Compared to Clouseau, this doomsday machine is a water pistol!"

"Who is this man? And what is he doing? Who cares? But don't miss my new movie..."

"The newest, pinkest Panther of all!"

"Why are the world's chief assassins after Inspector Clouseau? Why not? Everybody else is."

"The all-new adventures of the world's most bumbling detective"

"Peter Sellers - Chief Inspector Jacques Clouseau"

"Herbert Lom - Former Chief Inspector Charles Dreyfus"

"Leonard Rossiter - Superintendent Quinlan"

"Lesley-Anne Down - Olga Bariosova"

"Colin Blakely - Inspector Alec Drummond"

"Burt Kwouk - Cato Fong"

"André Maranne - François"

"Michael Robbins - Ainsley Jarvis"

"Richard Vernon - Professor Hugo Fassbender"

"Briony McRoberts - Margo Fassbender"

"Dick Crockett - the President of the United States"

"Byron Kane - the US Secretary of State"

"Gordon Rollings - Inmate"

"Dudley Sutton - Inspector Mclaren"

"John Clive - Chuck"

"No lad who has liberty for the first time, and twenty guineas in his pocket, is very sad, and Barry rode towards Dublin thinking not so much of the kind mother left alone, and of the home behind him, but of tomorrow, and all the wonders it would bring."

"Barry's first taste of battle was only a skirmish against a small rearguard of Frenchmen who occupied an orchard beside a road down which, a few hours later, the English main force would wish to pass. Though this encounter is not recorded in any history books, it was memorable enough for those who took part."

"It is well to dream of glorious war in a snug armchair at home, but it is a very different thing to see it first hand. And after the death of his friend, Barry's thoughts turned from those of military glory to those of finding a way to escape the service to which he was now tied for another six years. Gentlemen may talk of the age of chivalry, but remember the ploughmen, poachers and pickpockets whom they lead. It is with these sad instruments that your great warriors and kings have been doing their murderous work in the world."

"A lady who sets her heart upon a lad in uniform must prepare to change lovers pretty quickly, or her life will be but a sad one. This heart of Lieschen's was like many a neighbouring town and had been stormed and occupied several times before Barry came to invest it."

"The Prussian service was considerably worse than the English. The life that the private soldier led was a frightful one. Punishment was incessant, and every officer had the right to inflict it. The gauntlet was the most common penalty for minor offences. The more serious ones were punishable by mutilation or death. At the close of the Seven Years' War, the army, so renowned for its disciplined valour, was officered by native Prussians. But it was composed, for the most part, of men from the lowest levels of humanity, hired or stolen from almost every nation in Europe. Thus Barry fell into the very worst of courses and company and was soon very far advanced in the science of every kind of misconduct."

"Five years in the army, and some considerable experience of the world, had by now dispelled any of those romantic notions regarding love with which Barry commenced life. And he began to have it in mind, as so many gentlemen had done before him, to marry a woman of fortune and condition. And, as such things so often happen, these thoughts closely coincided with his setting first sight upon a lady who will henceforth play a considerable part in the drama of his life: the Countess of Lyndon, Viscountess Bullingdon of England, Baroness of Castle Lyndon of the Kingdom of Ireland, a woman of vast wealth and great beauty. She was the wife of The Right Honourable Sir Charles Reginald Lyndon, Knight of the Bath, and Minister to George III at several of the smaller Courts of Europe, a cripple, wheeled about in a chair, worn out by gout and a myriad of diseases. Her Ladyship's Chaplain, Mr. Runt, acted in the capacity of tutor to her son, the little Viscount Bullingdon, a melancholy little boy, much attached to his mother."

"Barry was born clever enough at gaining a fortune, but incapable of keeping one. For the qualities and energies which lead a man to triumph in the former case are often the very cause of his undoing in the latter."

"If he had murdered Lord Bullingdon, Barry could hardly be received with greater contempt and coldness than what now followed him in town and country. His friends fell away from him. And a legend arose of his cruelty to his stepson."

"Now all the bills came down on him together. All the bills he had been contracting for the years of his marriage and which the creditors sent in with a hasty unanimity. Their amount was frightful. Barry was now bound up in an inextricable toil of bills and debts, of mortgages and insurances, and in all the evils attendant upon them. And Lady Lyndon's income was hampered almost irretrievably to satisfy these claims."

"Barry had his faults, but no man could say of him that he was not a good and tender father. He loved his son with a blind partiality. He denied him nothing. It is impossible to convey what high hopes he had for the boy and how he indulged in a thousand fond anticipations as to his future success and figure in the world. But fate had determined that he should leave none of his race behind him, and that he should finish his life poor, lonely, and childless."

"(final lines) Utterly baffled and beaten, what was the lonely and broken-hearted man to do? He took the annuity and returned to Ireland with his mother to complete his recovery. Sometime later he travelled to the Continent. His life there, we have not the means of following accurately. But he appears to have resumed his former profession of a gambler without his former success. He never saw Lady Lyndon again."

"(EPILOGUE) It was in the reign of George III that the aforesaid personages lived and quarreled; Good or bad, handsome or ugly, rich or poor, they are all equal now."

"B-brave. A-acknowledging. R-resilient. R-reckless. Y-yielding. L-lovelorn. Y-yearning. N-noble. D-deceptive. O-ominous. N-narcissistic."

"In the 18th Century, it takes much guile for an Irish lad without prospects to win the prestige and privileges of English nobility. It takes far more than guile to avoid losing them."

"The tale of a rogue who conned his way to the top...and back again."

"Upstart. Soldier. Hero. Deserter. Scoundrel. Opportunist. Family man. Adulterer. Ruffian. Pariah. Victim."

"Great was his rise -- and much greater his fall."

"Let those laugh that win...while they can laugh and do win."

"After reaching the top, where can you go -- except down?"

"Ryan O'Neal - Redmond Barry"

"Marisa Berenson - Lady Lyndon"

"Patrick Magee - The Chevalier"

"Hardy Krüger - Captain Potzdorf"

"Gay Hamilton - Nora Brady"

"Steven Berkoff - Lord Ludd"

"Philip Stone - Graham"

"Godfrey Quigley - Captain Grogan"

"Leonard Rossiter - Captain Quin"

"Arthur O'Sullivan - Captain Feeny"

"Frank Middlemass - Sir Charles Lyndon"

"Liam Redmond - Old Brady"

"Forty-two percent of all liberals are queer, that's a fact. The Wallace people did a poll."

"[at the urinal] Hey, they got ice down there! I never pissed on ice before."

"The niggers, the niggers are gettin' all the money. Why work, tell me, why the fuck work, when you can screw, have babies, an' get paid for it?"

"It's colder than a witch's tit."

"What are you gonna do, kill me too?"

"I'm the "Joe" everybody's talking about."

"Keep America Beautiful"

"Dennis Patrick - Bill Compton"

"Audrey Caire - Joan Compton"

"Susan Sarandon - Melissa Compton"

"Peter Boyle - Joe Curran"

"K Callan - Mary Lou Curran"

"Marlene Warfield - Bellevue Nurse"

"Charles Durning as Doc Hopper"

"Austin Pendleton as Max"

"Scott Walker as Snake Walker"

"Lawrence Gabriel Jr. as a sailor"

"Ira F. Grubman as a bartender"

"H.B. Haggerty as a lumberjack"

"Bruce Kirby as a gate guard"

"Tommy Madden as One-Eyed Midget"

"James Frawley as a writer"

"Arnold Roberts as a cowboy"

"Edgar Bergen as Himself and the voice of Charlie McCarthy"

"Caroll Spinney as Big Bird and Oscar the Grouch from Sesame Street"

"Milton Berle as Mad Man Mooney"

"Melvin Brooks as Professor Max Krassman"

"James Coburn as the owner of El Sleezo Cafe"

"Dom DeLuise as Bernie the Agent"

"Elliott Gould as a Beauty Contest M.C."

"Robert Hope as an Ice Cream vendor"

"Madeline Kahn as a patron at El Sleezo"

"Carol Kane as Myth"

"Cloris Leachman as Lord's Secretary"

"Steven Martin as an insolent waiter"

"Richard Pryor as Balloon Vender"

"Telly Savalas as El Sleezo Tough"

"Orson Welles as Lew Lord"

"Paul Williams as the pianist at El Sleezo"

"Jim Henson as Kermit the Frog, Sam, Harry the Hipster, Yorick, Beautiful Day Monster, Brewster, Shakey Sanchez, Gloat, Thog, Rowlf the Dog, Dr. Teeth, Waldorf, Green Heap, Green Frackle, Clyde, The Swedish Chef and Lubbock Lou"

"Frank Oz as Fozzie Bear, Miss Piggy, Animal, Marvin Suggs, Sam the Eagle and Gramps"

"Jerry Nelson as Crazy Harry, Uncle Deadly, Floyd Pepper, Lew Zealand and Slim Wilson"

"Richard Hunt as Scooter, Janice, Sweetums and Bubba"

"Dave Goelz as The Great Gonzo, Doglion Beast, Zoot, Beauregard and Dr. Bunsen Honeydew"

"Steve Whitmire as Robin the Frog, Rizzo the Rat, Baskerville the Hound, Boppity, Statler, Timmy Monster, Mel, Louis Kazagger, Purple Heap and Zeke"

"The most important thing to remember is: to protect your quarterback - ME!"

"You know what my problem has been all my life? I've always had my shit together. Always. My problem's been I couldn't lift it."

"Alright men, now here's the play we're gonna use. I don't think the guards know this formation. It's called 'incidental punishment after the ball is blown dead.' Remember, any man you tackle gets an elbow, knee, or kick in the mouth."

"First Down...And Ten Years To Go."

"It's Survival of the Fiercest and Funniest"

"Burt Reynolds - Paul "Wrecking" Crewe"

"Eddie Albert - Warden Hazen"

"Ed Lauter - Captain Knauer"

"Michael Conrad - Nate Scarboro"

"James Hampton - Caretaker"

"Harry Caesar - Granville"

"John Steadman - Pop"

"Charles Tyner - Unger"

"Mike Henry - Rassmeusen"

"Jim Nicholson - Ice Man"

"Bernadette Peters - Warden's Secretary"

"Joe Kapp - Walking Boss"

"Richard Kiel - Samson"

"Robert Tessier - Connie Shokner"

"Ray Nitschke - Bogdanski"

"George A. Jones - Big George"

"I'm gonna suck your cock like the inside of a ripe mango."

"Ripe mango, take two..."

"Constance Money - Misty Beethoven"

"Jamie Gillis - Dr. Seymour Love"

"Calvin Culver (aka Casey Donovan) as Jacque Beudant, art dealer"

"Jacqueline Beudant - Geraldine Rich"

"Gloria Leonard - Barbara"

"Terri Hall - Tanya"

"Mark Margolis - unhappy man"

"Well if it feels good, there's a good chance it must be bad."

"Oh my goodness... Are you all right?... I thought I'd broken it."

"We don't have any towels. We had one once, but it was stolen by a hotel."

"[to Alice] May my rod and staff comfort thee."

"An X-Rated Musical Comedy."

"The world's favorite bedtime story."

"Kristine DeBell – Alice"

"Bucky Searles – Humpty Dupty"

"Ron Nelson – William"

"Alan Novak – Mad Hatter"

"J. P. Paradine – Judge/Scrugg"

"Larry Gelman – The White Rabbit"

"Okay. But you keep those dinky toys out of my hair and away from this plane for 15 minutes, maybe less. I'll DRIVE it out."

"I'll be back in time if I have to pull that plane out with my teeth!"

"Hold the whipped cream; I just had a dessert."

"Aww, a tractor-trailer jack-knifed and flipped over. It's laying on its side like a drunken dinosaur."

"That's one nice thing about the 707. It can do everything but read."

"Nice going sweetheart (as he taps the fuselage of the damaged plane)"

"My late husband played the violin. Not professionally, but he was very good. He once played the Minute Waltz in 58 seconds."

"When you get to be older, there isn't a lot left to be frightened of."

"The #1 novel of the year - now a motion picture!"

"Burt Lancaster – Mel Bakersfeld"

"Dean Martin – Capt. Vernon Demerest"

"Jean Seberg – Tanya Livingston"

"Jacqueline Bisset – Gwen Meighen"

"George Kennedy – Joe Patroni"

"Helen Hayes – Ada Quonsett"

"Van Heflin – D. O. Guerrero"

"Maureen Stapleton – Inez Guerrero"

"Barry Nelson – Capt. Anson Harris"

"Lloyd Nolan – Harry Standish"

"Dana Wynter – Cindy Bakersfeld"

"Barbara Hale – Sarah Bakersfeld Demerest"

"Something hit us... The crew is dead... Help us, please, please help us!"

"Star-studded cast trapped in a plunging airplane... And only a death-defying rescue mission can save them!"

"ALL NEW screen excitement inspired by novel "Airport" by Arthur Hailey."

"An all new motion picture inspired by the film AIRPORT based on the novel by Arthur Hailey!"

"A mid-air collision leaves a 747 without a pilot..."

"Charlton Heston – Alan Murdock"

"Karen Black – Nancy Pryor"

"George Kennedy – Joe Patroni"

"Gloria Swanson – Herself"

"Efrem Zimbalist Jr. – Captain Stacy"

"Susan Clark – Helen Patroni"

"Myrna Loy – Mrs. Devaney"

"Sid Caesar – Barney"

"Linda Blair – Janice Abbott"

"Dana Andrews – Scott Freeman"

"Helen Reddy – Sister Ruth"

"Roy Thinnes – First Officer Urias"

"Ed Nelson – Maj. Alexander"

"Nancy Olson – Mrs. Abbott"

"Larry Storch – Purcell"

"Martha Scott – Sister Beatrice"

"Norman Fell – Bill"

"Jerry Stiller – Sam"

"Conrad Janis – Arnie"

"Beverly Garland – Mrs. Freeman"

"Augusta Summerland – Winnie"

"Guy Stockwell – Col. Moss"

"Erik Estrada – Flight Engineer Julio"

"Christopher Norris – Stewardess Bette"

"Irene Tsu – Stewardess Carol"

"Laurette Spang – Stewardess Arlene"

"Sharon Gless – Stewardess Sharon"

"Aldine King – Stewardess Aldine"

"Kip Niven – Lt. Thatcher"

"Austin Stoker – Air Force Sgt."

"Your grandfather has a lot of expensive toys, Benjamin"

"I want to harvest the sea of food and save millions of people from starvation."

"Beauty is in the eyes of beholder."

"Excuse me, I don't mean to intrude, but could you move your ass, dear?"

"Who else have I got to blackmail? I don't get to fool around that much. See you on the ground."

"Benjy, I'm your Grandpa."

"Flight 23 has crashed in the Bermuda Triangle... passengers still alive, trapped underwater..."

"All new, bigger, and more exciting than AIRPORT 1975!"

"Jack Lemmon – Capt. Don Gallagher"

"Lee Grant – Karen Wallace"

"Brenda Vaccaro – Eve Clayton"

"Joseph Cotten – Nicholas St. Downs III"

"Olivia de Havilland – Emily Livingston"

"James Stewart – Philip Stevens"

"George Kennedy – Joe Patroni"

"Darren McGavin – Stan Buchek"

"Christopher Lee – Martin Wallace"

"You know, if it wasn't 7:30 in the morning, I would have a drink."

"Earthquakes bring out the worst in some people."

"An event..."

"When the big one finally hits L.A."

"Charlton Heston – Stewart Graff"

"Ava Gardner – Remy Royce-Graff"

"George Kennedy – Sgt. Lew Slade"

"Lorne Greene – Sam Royce"

"Geneviève Bujold – Denise Marshall"

"Richard Roundtree – Miles Quade"

"Marjoe Gortner – Jody"

"Barry Sullivan – Dr. Willis Stockle"

"Lloyd Nolan – Dr. James Vance"

"Victoria Principal – Rosa Amici"

"Walter Matthau – Drunk"

"Now you know there's no sure way for us to fight a fire in any place above the seventh floor, but you guys just keep building them as high as you can."

"For what it's worth, Architect, this is one building that I figured wouldn't burn."

"When there's a fire, I outrank everybody here."

"Oh they'll find some dumb son of a bitch to bring them up."

"Now Doug, one piece of scorched wire from a burned-out circuit breaker is hardly conclusive."

"(on the phone with Doug) Doug, I think you're overreacting. Now, I feel sorry for Will Giddings, but he'll be taken care of. But I am not going to concern myself with a fire in a storage room on 81, because it can't possibly affect us up here! Not in this building! Now, have someone call me when the fire department arrives. In the meantime, get in your dinner jacket and come up to join the party, now come on! (hangs up the phone)"

"Did you change any of Doug's electrical specifications?"

"For God sakes, why?!"

"We've got a fire, and if it was caused by anything you did I'm going to hang you out to dry, and then I'm going to hang you!"

"Ladies and gentlemen. LADIES AND GENTLEMEN, MAY I HAVE YOUR ATTENTION? It seems that we have a small fire. In one of our storage rooms, 50 floors below. Now I assure you there's no danger. But in accordance with the fire department's orders, a purely precautionary procedure, we're going to have to move the party down to the lobby for a while and we'll be serving cocktails and champagne in our Continental Room. But I promise you - dinner will not be delayed. Now if we can all move to the elevators."

"Ladies and gentlemen, I'm sorry. You'll have to move back into the Promenade Room, and we'll be taking you down by the scenic elevator. Now these express elevators can be activated by fire. And with the probability of short circuits, the cars might stop on the floor where the fire is. So please we'll use the scenic elevator, over there. (a panicked group of guests enter an express elevator anyway despite Duncan's warnings) FOR GOD'S SAKE, GET OUT OF THERE! (elevator door closes with the panicked guests in the elevator car, which would soon bring them to their firey doom) Please, back!! (pushes the elevator button to try to get the elevator car back up to cancel the trip down, but to no avail)"

"(on the security phone) Security, this is Duncan. Have the main breakers gone? (whispering to Senator Parker after getting the bad news) The whole system's failed."

"Urgency? Hey Dunc, if that fire was caused by fluky wiring in this building, we could get fires breaking out EVERYWHERE!!!"

"I don't know. Maybe they just oughta leave it the way it is. Kind of a shrine to all the the bullshit in the world."

"One Tiny Spark Becomes A Night Of Blazing Suspense."

"The tallest building in the world is on fire. You are there with 294 other guests... There's no way down. There's no way out."

"“The Towering Inferno” Is Not Just The Story Of The World' Tallest Building In Flames, It's The Story Of People..."

"One minute you're attending a party atop the world's tallest skyscraper. The next... you're trapped with 294 other guests in the middle of a fiery hell."

"You are there on the 135th floor, no way down, no way out."

"The world's tallest building is on fire. You are there on the 135th floor... no way down... no way out."

"Steve McQueen – Fire Chief Michael O'Halloran"

"Paul Newman – Doug Roberts"

"William Holden – James Duncan"

"Faye Dunaway – Susan Franklin"

"Fred Astaire – Harlee Claiborne"

"Susan Blakely – Patty Duncan Simmons"

"Richard Chamberlain – Roger Simmons"

"Jennifer Jones – Lisolette Mueller"

"O. J. Simpson – Harry Jernigan"

"Robert Vaughn – Senator Gary Parker"

"Robert Wagner – Dan Bigelow"

"[First lines] The film which you are about to see is an account of the tragedy which befell a group of five youths, in particular Sally Hardesty and her invalid brother, Franklin. It is all the more tragic in that they were young. But, had they lived very, very long lives, they could not have expected nor would they have wished to see as much of the mad and macabre as they were to see that day. For them an idyllic summer afternoon drive became a nightmare. The events of that day were to lead to the discovery of one of the most bizarre crimes in the annals of American history, The Texas Chain Saw Massacre."

"[voice-over] Graverobbing in Texas is this hour's top news story. An informant led officers of the Muerto County Sheriff's Department to a cemetery just outside the small rural Texas community of Newt early this morning. Officers there discovered what appeared to be a grisly work of art: the remains of a badly decomposed corpse wired to a large monument. A second body was found in a ditch near the perimeter of the cemetery. Subsequent investigation has revealed at least a dozen empty crypts, and it's feared more will turn up as the probe continues. Deputies report that in some instances only parts of a corpse have been removed, the head or in some cases the extremities removed, the remainder of the corpse left intact. Evidence indicates the robberies have occurred over a period of time. Sheriff Jesús Maldonado refused to give details in the ghoulish case, and said only that he did have evidence linking the crime to elements outside the state. Area residents have reportedly been converging on the cemetery, fearing the remains of relatives have been removed. No suspects are in custody as the investigation at the scene continues."

"[to Sally] Why, my old grandpa was the best killer there was at the slaughterhouse. Why, it never took more than one lick they say. Why, he did 60 cattle in five minutes once. They say he could have done more if the hook and pull gang could have gotten the beeves out of the way faster."

"[to the captive Sally in his truck] Sorry to keep you waiting, young lady. I had to lock up the shop and turn the lights off. The cost of electricity these days is enough to drive a man like me out of business."

"[about Leatherface damaging the door with his chain saw] Look what your brother did to the door! Ain't he got no pride in his home?"

"That's the last goddamn hitchhiker I ever pick up."

"Who will survive and what will be left of them?"

"Can you survive... It happened."

"What happened is true. Now the motion picture that's just as real."

"Once you stop screaming, then you'll start talking about it."

"America's Most Bizarre and Brutal Crimes!"

"Marilyn Burns — Sally Hardesty"

"Gunnar Hansen — Leatherface"

"Edwin Neal — Hitchhiker"

"Allen Danziger — Jerry"

"Paul A. Partain — Franklin Hardesty"

"Jim Siedow — Old Man"

"Teri McMinn — Pam"

"John Larroquette — Narrator"

"There is a girl out there who might be running for her life from some gigantic turned-on ape."

"I'm Dwan. D-W-A-N, Dwan. That's my name. You know, like Dawn, except that I switched two letters to make it more memorable."

"You know I had my horoscope done before I flew out to Hong Kong. And it said that I was going to cross over water and meet the biggest person in my life."

"You Goddamn chauvinist pig ape!"

"Did you ever meet anyone before whose life was saved by "Deep Throat"?"

"Lights! Camera! Kong!"

"Take plenty of TNT when you go inland. Any sign of a monkey bigger than four feet, send him bang-bang."

"The most exciting original motion picture event of all time."

"On this small island lies the biggest discovery on Earth."

"This is one monkey you don't want on your back."

"Jeff Bridges — Jack Prescott"

"Charles Grodin — Fred Wilson"

"Jessica Lange — Dwan"

"John Randolph — Captain Ross"

"Rene Auberjonois — Roy Bagley"

"Ed Lauter — Carnahan"

"Julius Harris — Boan"

"Jack O' Halloran — Joe Perko"

"I have killed for my country, or whatever, and I don't feel good about it. 'Cause there's not enough reason, man, to feel a person die in your hands, or to see your best buddy get blown away."

"[to Sally] You know, I spend 95% of the time at the hospital thinking of making love with you."

"[being interviewed by a television news crew after chaining himself to a Marines Recruitment Facility] The reason why I'm here is because a buddy of mine who'd been in 'Nam took his own life today. This is kind of a funeral service. And I'm here because I'm trying to tell people, man, if we want to commit suicide, we have plenty of reasons to do it right here at home. We don't have to go to Vietnam to find reasons to kill ourselves. I just don't think we should be over there."

"Jane Fonda - Sally Hyde"

"Jon Voight - Luke Martin"

"Bruce Dern - Capt. Bob Hyde"

"Penelope Milford - Vi Munson"

"Robert Carradine - Bill Munson"

"Robert Ginty - Sgt. Dink Mobley"

"Mary Gregory - Martha Vickery"

"Kathleen Miller - Kathy Delise"

"Beeson Carroll - Capt. Earl Delise"

"Willie Tyler - Virgil"

"[About the killer bees] We have been invaded, by an enemy far more lethal than any human force."

"Look, what I do for a living isn't important. What is important, critical, is that there are probably other invading swarms and what these bees did here, they can do again, all over the Southwest and, ultimately, all over the country."

"We've been fighting a losing battle against the insects for fifteen years, but I never thought I'd see the final face-off in my lifetime. And I never dreamed, that it would turn out to be the bees. They've always been our friend."

"Bees, bees, what a lot of bees."

"Houston on fire. Will history blame me, or the bees?"

"By tomorrow there will be no more Africans... at least not in the Houston sector."

"Attention! Attention! This is Miss Schuster. Please listen very carefully. A swarm of killer bees is coming this way."

"It's more than a speculation - it's a prediction!"

"... is here!"

"Monsters by the millions - and they're all for real!"

"This is more than a movie. It's a prediction!"

"The most terrifying thing about THE SWARM is that it is based on Fact: It exists. Fact: It has awesome destructive power. Fact: We don't know how to stop it."

"Michael Caine — Dr. Bradford Crane"

"Katharine Ross — Capt. Helena Anderson"

"Richard Widmark — General Thaddeus Slater"

"Richard Chamberlain — Dr. Hubbard"

"Olivia de Havilland — Maureen Schuster"

"Ben Johnson — Felix Austin"

"Lee Grant — Anne MacGregor"

"Jose Ferrer — Dr. Andrews"

"Patty Duke Astin — Rita Bard"

"Slim Pickens — Jud Hawkins"

"Bradford Dillman — Major Baker"

"Fred MacMurray — Clarence Tuttle"

"Henry Fonda — Dr. Walter Krim"

"Cameron Mitchell — General Thompson"

"Christian Juttner — Paul Durant"

"Morgan Paull — Dr. Newman"

"Alejandro Rey — Dr. Martinez"

"Don "Red" Barry — Pete Harris"

"I have come to the conclusion that one useless man is called a disgrace, that two are called a law firm, and that three or more become a Congress! And by God, I have had this Congress! For ten years, King George and his Parliament have gulled, cullied, and diddled these colonies with their illegal taxes! Stamp Acts, Townshend Acts, Sugar Acts, Tea Acts! And when we dared stand up like men, they have stopped our trade, seized our ships, blockaded our ports, burned our towns, and spilled our BLOOD! And still, this Congress refuses to grant ANY of my proposals on independence, even so much as the courtesy of open debate! Good God, what in hell are you waiting for?"

"The Declaration will be a triumph, a triumph I say. (pauses) And if it isn't, we still have 4 days to think of something else."

"(to God) A second flood, a simple famine, plagues of locusts everywhere, or a cataclysmic earthquake, I'd accept with some despair. But no, you sent us Congress! Good God, Sir, was that fair?!"

"John Dickinson: Don't forget that most men with nothing would rather protect the possibility of becoming rich than face the reality of being poor."

"John Dickinson: (after John Hancock calls for all members of the Congress to sign the Declaration of Independence) I'm sorry, Mr. President. I cannot, in good conscience, sign such a document. I will never stop hoping for our eventual reconciliation with England. But because, in my own way, I regard American no less than does Mr. Adams, I will join the army, and fight in her defense. Even though I believe that fight to be hopeless. Goodbye gentlemen."

"Richard Henry Lee: Resolved: That these United Colonies are, and of right ought to be, free and independent States, that they are absolved from all allegiance to the British Crown, and that all political connection between them and the State of Great Britain is, and ought to be, totally dissolved."

"Continental Congress: (in unison) Oh for God sake's, John, SIT DOWN!!!"

"William Daniels as John Adams (MA)"

"Howard Da Silva as Dr. Benjamin Franklin (PA)"

"Ken Howard as Thomas Jefferson (VA)"

"Donald Madden as John Dickinson (PA)"

"John Cullum as Edward Rutledge (SC)"

"Roy Poole as Stephen Hopkins (RI)"

"David Ford as John Hancock (MA)"

"Ron Holgate as Richard Henry Lee (VA)"

"Ray Middleton as Thomas McKean (DE)"

"William Hansen as Caesar Rodney (DE)"

"Blythe Danner as Martha Jefferson"

"Virginia Vestoff as Abigail Adams"

"Emory Bass as James Wilson (PA)"

"Ralston Hill as Secretary Charles Thomson"

"Howard Caine as Lewis Morris (NY)"

"Patrick Hines as Samuel Chase (MD)"

"William Duell as Andrew McNair"

"Daniel Keyes as Josiah Bartlett (NH)"

"Leo Leyden as George Read (DE)"

"Stephen Nathan as Courier"

"Jonathan Moore as Lyman Hall (GA)"

"James Noble as Reverend John Witherspoon (NJ)"

"John Myhers as Robert Livingston (NY)"

"Rex Robbins as Roger Sherman (CT)"

"Charles Rule as Joseph Hewes (NC)"

"You ride off with somebody else's $12,000,000 horse, did you think we wouldn't notice?"

"Okay, I respect your position. I don't understand it, but I respect it. A lot of famous people hated publicity: Albert Schweizer. Franco... Albert Schweizer."

"I'm going to get me a bottle of tequila and find me one of them Keno girls that can suck the chrome off a trailer hitch and just kinda kick back."

"If I am wrong, I'm insane... but if I'm right, it's even worse than if I was wrong."

"I can't just call him up and say, "I used be called Joanna Ingalls. You deflowered me ten years ago. Would you test my water?""

"If I were to apologize for every time I got smashed, I'd spend my life wandering around saying "I'm sorry, I'm sorry, sorry"."

"I'm also an ex-Gothamite, who's been living here in Ajax country for just over a month now, and I'm going crazy. You see doctor, my problem is that given complete freedom of choice, I don't WANT to squeeze the goddamn Charmin!"

"I just don't get it. It's like there's this contest, okay? And the housewife with the cleanest house gets Robert Redford for Christmas... but nobody will tell the rules!"

"[after being stabbed] Joanna! How could you do a thing like that? When I was just going to give you coffee! When I was just going to give you coffee! How could you do a thing like that? I thought we were friends! I thought we were friends... I thought we were friends..."

"Something strange is happening in the town of Stepford."

"A very modern suspense story from the author of Rosemary's Baby."

"Something strange is happening in the town of Stepford. Where the men spend their nights doing something secret. And every woman acts like every man's dream of the "perfect" wife. Where a young woman watches the dream become a nightmare. And sees the nightmare engulf her best friend. And realizes that any moment, any second - her turn is coming."

"Katharine Ross - Joanna Eberhart"

"Paula Prentiss - Bobbie Markowe"

"Peter Masterson - Walter Eberhart"

"Nanette Newman - Carol Van Sant"

"Tina Louise - Charmaine Wimpiris"

"Carol Eve Rossen - Dr. Fancher"

"William Prince - Ike Mazzard"

"Carole Mallory - Kit Sunderson"

"Toni Reid - Marie Axhelm"

"Judith Baldwin - Patricia Cornell"

"Barbara Rucker - Mary Ann Stravros"

"George Coe - Claude Axhelm"

"Franklin Cover - Ed Wimpiris"

"Robert Fields - Raymond Chandler"

"Michael Higgins - Mr. Cornell"

"[Repeated line] If there's one thing I can't stand seeing, it's Americans fighting Americans."

"[To Betty, before she leaves for the USO.] I don't know what they've told you down at the USO, but you're going to be meeting a lot of strange men. Men in uniform. Boys a long way from home, lonely, desperate. They really have one thing on their minds. Show them a good time."

"[To Gen. Stillwell] Sir, I'd like to say something. We've been through a lot, all of us. We faced the enemy for the first time last night, right in our own backyards. We came together, put all our differences aside and carried on the true spirit of America. I think no matter what happens, what sacrifices we have to face, we can carry forward, like Americans. While we're doing our repairs here, I'm going to hang this wreath on my front door - this symbol of Christmas, this symbol of peace. I just want to remind us all that we're not going to let a bunch of treacherous enemy killjoys ruin our Christmas. [Hangs wreath on door. House falls off cliff]"

"[to Donna] It's big. The biggest one here. You know what else? It's got a lot of range. You know what I mean by range, don't you? I mean, it can stay up for a long time. A very long time. And it's built firm and solid. Because it has to be. Because of its tremendous forward thrust. And when this baby delivers its payload... devastating."

"This isn't the state of California, it's a state of insanity."

"Bombs! I don't hear any bombs! Now they're up there. They came all the way from Asia. Don't you think they'd bring a few bombs along? You can't have an air raid without bombs!"

"[arriving at a movie theater] Ah, Dumbo. Sure be good to get my mind off things for a while."

"[referring to "Wild Bill" Kelso] That is the craziest son of a bitch I've ever seen."

"To Hollywood... and glory!"

"You sneaky little bastards aren't getting doodly shit from me. Except maybe my name, rank, and Social Security number: Wood, Hollis P., Lumberjack, Social Security 106-43-2185."

"You ain't gettin' shit out of me. I've been constipated all week and there ain't a damn thing you can do about it!"

"[after seeing Captain von Kleinschmidt enter] Jesus Palomino, a Nazi! I knew it, you're all in cahoots! Well, let me tell you something, Mr. Heinie Kraut, I fought your kind in the Great War, and we kicked the living shit out of you!"

"[reporting over the radio on a riot at the USO] Ladies and gentlemen, every where I look... soldiers are fighting sailors, sailors are fighting Marines! Directly in front of me, I see a flying blond floozy! Everywhere I look... everywhere, pure pandemonium... pandemonium!"

"PFC Foley: I'll tell you what we're gonna do: we're gonna go home, we're gonna paint the scratches on this tank, we're gonna put the sarge to bed and we're gonna forget this night ever happened!"

"Japanese soldier: [trying to squeeze a large radio into the sub] We've got to figure out how to make these things smaller!"

"Paranoia meets pandemonium."

"As They Roared Into Battle, Only One Thing Was Missing...The Enemy!"

"A Comedy Spectacular!"

"Dan Aykroyd - Motor Sergeant Frank Tree"

"Ned Beatty - Ward Douglas"

"John Belushi - Captain Wild Bill Kelso"

"Lorraine Gary - Joan Douglas"

"Murray Hamilton - Claude Crumn"

"Christopher Lee - Captain Wolfgang Von Kleinschmidt"

"Tim Matheson - Captain Loomis Birkhead"

"Toshiro Mifune - Commander Akiro Mitamura"

"Warren Oates - Colonel "Madman" Maddox"

"Robert Stack - Major General Joseph W. Stilwell"

"Treat Williams - Corporal Chuck Sitarski"

"Nancy Allen - Donna Stratton"

"Bobby Di Cicco - Wally Stephens"

"Eddie Deezen - Herbie Kazlminsky"

"Walter Olkewicz - Private Hinshaw"

"Dianne Kay - Betty Douglas"

"Slim Pickens - Hollis P. Wood"

"Kerry Sherman - USO Girl"

"Wendie Jo Sperber - Maxine Dexheimer"

"John Candy - Private First Class Foley"

"John Voldstad - USO Nerd"

"Perry Lang - Dennis DeSoto"

"Geno Silva - Martinez"

"Patti LuPone - Lydia Hedberg"

"Whitney Rydbeck - Daffy"

"Penny Marshall - Miss Fitzroy"

"Lucinda Dooling - Lucinda"

"Frank McRae - Private Ogden Johnson Jones"

"Steven Mond - Gus Douglas"

"Dub Taylor - Mr. Malcomb"

"Luis Contreras - Zoot Suiter"

"Lionel Stander - Angelo Scioli"

"Michael McKean - Willy"

"Susan Backlinie - Polar Bear Woman"

"David Lander - Joe"

"Joe Flaherty - Sal Stewart / Raoul Lipschitz"

"Don Calfa - Telephone Operator"

"Iggie Wolfington - Meyer Mishkin"

"Lucille Benson - Gas Mama"

"Elisha Cook Jr. - The Patron"

"Hiroshi Shimizu - Lieutenant Ito"

"Rita Taggart - Reporter"

"Maureen Teefy - USO Girl"

"Akio Mitamura - Ashimoto"

"Mickey Rourke - Private Reese"

"Samuel Fuller - Commander Hawkins"

"Audrey Landers - USO Girl"

"John Landis - Mizeraney"

"Dick Miller - Officer Miller"

"Donovan Scott - Kid Sailor"

"Andy Tennant - Babyface"

"Jack Thibeau - Lieutenant Reiner"

"Jerry Hardin - Map Man"

"Robert Houston - Corporal Taylor"

"James Caan - Fighting Sailor (Uncredited)"

"Sydney Lassick - Salesman (Uncredited)"

"Debbie Rothstein - USO Girl, Jitterbugger (Uncredited)"

"I don't wish to be forward, but we'd like to exchange cars with you. So the faster you get out, the better it'll be for your ass."

"You ain't no country preacher, Preacher."

"[to a woman riding a motorcycle in shorts] Hey where did you get those pants? [the womans pulls out a hammer, pounds his truck and rides off] You freak! I love you, come back!"

"Go... fuck... a duck."

"Thunderbolt... the man with the reputation. Lightfoot... the kid who's about to make one!"

"He has exactly seven minutes to get rich quick!"

"Clint Eastwood - John "Thunderbolt" Doherty"

"Jeff Bridges - Lightfoot"

"George Kennedy - Red Leary"

"Geoffrey Lewis - Eddie Goody"

"Gary Busey - Curly"

"Catherine Bach as Melody"

"Jack Dodson - Bank Manager"

"Gregory Walcott - Car Salesman"

"Vic Tayback - Construction Company Owner"

"Bill McKinney - Crazed Car Driver w/raccoon and rabbits"

"Burton Gilliam - Welder"

"Beth Howland - Bank Manager's Wife"

"Dub Taylor - Gas Station Attendant"

"Claudia Lennear - Secretary"

"June Fairchild - Gloria"

"Hey, it's a '70s thing! [Video Title]"

"Franklin Ajaye - T.C."

"Sully Boyar - Leon "Mr. B." Barrow"

"Richard Brestoff - Irwin Barrow"

"George Carlin - the Taxi Driver"

"Irwin Corey - The Mad Bomber"

"Ivan Dixon - Lonnie"

"Bill Duke - Duane - Abdullah"

"Antonio Fargas - Lindy"

"Michael Fennell - Calvin"

"Arthur French - Charlie"

"Lorraine Gary - the Hysterical Lady"

"Darrow Igus - Floyd"

"Leonard Jackson - Earl"

"DeWayne Jessie (a.k.a. Otis Day) - Lloyd"

"Jack Kehoe - Scruggs"

"Henry Kingi - Goody"

"Melanie Mayron - Marsha"

"Garrett Morris - Slide"

"Clarence Muse - Snapper"

"Leon Pinkney - Justin"

"The Pointer Sisters - The Wilson Sisters"

"Richard Pryor - Daddy Rich"

"Tracy Reed - Mona"

"Pepe Serna - Chuco"

"James Spinks - Hippo"

"Ray Vitte - Geronimo"

"Renn Woods - Loretta"

"Brooke Adams - Terry"

"Antoine Becker - Charlene"

"Danny DeVito - Joe"

"Antar Mubarak - Sonny Fredericks"

"Otis Sistrunk - Otis"

"Tim Thomerson - Ken"

"The psychotic killer, the young heiress...the kidnapping that becomes a love story."

"- Barbara Blandish"

"- Slim Grissom"

"- Eddie Hagan"

"- Dave Fenner"

"- Gladys "Ma" Grissom"

"- Anna Borg"

"- John P. Blandish"

"This is really wonderful. If we go along with you and lie our asses off, the world of truth and ideals is, er, protected. But if we don't want to take part in some giant rip-off of yours then somehow or other we're managing to ruin the country. You're pretty good, Jim. I'll give you that."

"Anybody hungry? Oh, the marvels of American science. Here we are millions of miles from earth, and we can still send out for pizza."

"[after the astronauts have been removed from the rocket before the launch] Hey, Dr. Kelloway. Funny thing happened on the way to Mars."

"Okay, here it is. I have to start by saying that if there was any other way, if there was even a slight chance of another alternative, I would give anything not to be here with you now. Anything. Bru, how long have we known each other? Sixteen years. That's how long. Sixteen years. You should have seen yourself then. You looked like you just walked out of a Wheaties box. And me, all sweaty palm and deadly serious. I told everybody about this dream I had of conquering the new frontier, and they all looked at me like I was nuts. You looked at me and said, "yes." I remember when you told me Kay was pregnant. We went out and got crocked. I remember when Charles was born. We went out and got crocked again. The two of us. Captain Terrific and the Mad Doctor, talking about reaching the stars, and the bartender telling us maybe we'd had enough. Sixteen years. And then Armstrong stepped out on the Moon, and we cried. We were so proud. Willis, you and Walker, you came in about then. Both bright and talented wise-asses, looked at me in my wash-and-wear shirt carrying on this hot love affair with my slide-rule, and even you were caught up in what we'd done. I remember when Glenn made his first orbit in Mercury, they put up television sets in Grand Central Station, and tens of thousands of people missed their trains to watch. You know when Apollo 17 landed on the Moon, people were calling up the networks and bitching because reruns of I Love Lucy were cancelled. Reruns, for Christ's sake! I could understand if it was the new Lucy show. After all, what's a walk on the Moon? But reruns! Oh, geez! And then suddenly everybody started talking about how much everything cost. Was it really worth 20 billion to go to another planet? What about cancer? What about the slums? How much does it cost? How much does any dream cost, for Christ's sake? Since when is there an accountant for ideas? You know who was at the launch today? Not the President. The Vice-President, that's who. The Vice-President and his plump wife. The President was busy. He's not busy. He's just a little bit scared. He sat there two months ago and put his feet up on Woodrow Wilson's desk, and he said, "Jim. Make it good. Congress is on my back. They're looking for a reason to cancel the program. We can't afford another screw-up. Make it good. You have my every good wish." His every good wish! I got his sanctimonious Vice-President! That's what I got! So, there we are. After all those hopes and all that dreaming, he sits there, with those flags behind his chair, and tells me we can't afford a screw-up. And guess what! We had a screw-up! A first-class, bona-fide, made-in-America screw-up! The good people from Con-Amalgamate delivered a life-support system cheap enough so they could make a profit on the deal. Works out fine for everybody. Con-Amalgamate makes money. We have our life-support system. Everything's peachy. Except they made a little bit too much profit. We found out two months ago it won't work. You guys would all be dead in three weeks. It's as simple as that. So, all I have to do is report that and scrub the mission. Congress has its excuse, the President still has his desk, and we have no more program. What's 16 years? Your actual drop in the bucket! All right. That's the end of the speech. Now, we're getting to what they call the moment of truth. Come with me. I want to show you something."

"You think it's all a couple of loony scientists, it's not! It's bigger. There are people out there, forces out there, who have a lot to lose. They're grown ups. It's gotten too big, it's in the hands of grown ups!"

"Walter Loughlin: You're fired! Oh, I love how that sounds. I love that so much I'm going to say it again. You're fired. You're through. Oh, I love it!"

"The mission was a sham. The murders were real."

"Would you be shocked to find out that the greatest moment of our recent history may not have happened at all?"

"The most important event in our nation's history—what if it never really happened? (trailer only)."

"Elliott Gould - Robert Caulfield"

"James Brolin - Colonel Charles Brubaker, USAF"

"Sam Waterston - Lieutenant Colonel Peter Willis, USAF"

"O. J. Simpson - Commander John Walker, USN"

"Hal Holbrook - Dr. James Kelloway"

"Brenda Vaccaro - Kay Brubaker"

"Karen Black - Judy Drinkwater"

"David Doyle - Walter Loughlin"

"Robert Walden - Elliot Whitter"

"Telly Savalas - Albain"

"David Huddleston - Congressman Hollis Peaker"

"Look, why don't you go out and bust up a keno game. Do something worthwhile for chrissakes, you two bit vice squad, you're not only dumb, you're dirty."

"I'm dead, Bill. I just want to stay that way for awhile."

"When I agreed to take you back in January I made two suggestions. One was about your drinking. Well, you seem to have licked that. The other was that you curb your talent for creative irresponsibility: you can start working on that right now."

"We're in the business of reporting the news, not creating it."

"Ladies and gentlemen, you have been invited here today for the official announcement of the inquiry into the death of Senator Charles Carroll. This is an announcement, not a press conference. Therefore, there will be no questions. A complete transcript of the investigation is being prepared for publication on March 1. At that time, the committee will hold a full-scale press conference. After nearly four months of investigation, followed by nine weeks of hearings, it is the conclusion of this committee that Senator Carroll was assassinated by Thomas Richard Linden. It is our further conclusion that he acted entirely alone, motivated by a sense of patriotism and a psychotic desire for public recognition. The committee wishes to emphasize that there is no evidence of any wider conspiracy; no evidence whatsoever. It's our hope that this will put an end to the kind of irresponsible and exploitive speculation conducted by the press in recent months, as I've said in the complete text of the hearings, which provides the bases for the committee's findings which will be published on March 1. When you've had a chance to examine the evidence, you'll have every opportunity to ask those questions which remain unanswered, if they are any. That is all. Thank you."

"Ladies and gentlemen, you've been invited here today for the official announcement of the inquiry into the death of George Hammond. A complete transcript of the investigation is in preparation. This committee has spent nearly six months of investigation, followed by eleven weeks of hearings. After careful deliberation, it is concluded that George Hammond was assassinated by Joseph Frady. An overwhelming body of evidence has revealed that Frady was obsessed with the Carroll assassination, and in his confused and distorted state of mind seems to have imagined that Hammond was responsible for the senator's death. He was equally convinced that Hammond was somehow plotting to kill him. And it is for those reasons that Frady assassinated him. Although I'm certain that this will do nothing to discourage the conspiracy peddlers: there is no evidence of a conspiracy in the assassination of George Hammond. Those are our findings. The evidence will be available as soon as possible. Thank you. This is an announcement, gentlemen. There will be no questions."

"Gail: They say a martini is like a woman's breast: one ain't enough and three is too many."

"There is no conspiracy. Just twelve people dead."

"As American as apple pie."

"Warren Beatty - Joseph Frady"

"Paula Prentiss - Lee Carter"

"William Daniels - Austin Tucker"

"Walter McGinn - Jack Younger"

"Hume Cronyn - Bill Rintels"

"Kelly Thordsen - Sheriff L.D. Wicker"

"Earl Hindman - Deputy Red"

"[having sex with a john] Oh my angel! Oh my angel! [looks at her watch]"

"You're not gonna get hung up on me, are you?"

"It's just nerves, I'm a nervous broad, it doesn't mean anything."

"Nothing is wrong. I think the only way that any of us can ever be happy is to... is to let it all hang out, you know. Do it all, and fuck it."

"Oh ho, you're very square, cookie. No, pimps don't do dates for you, they just take your money."

"What's the matter? You were terrific. A real tiger. Are you upset because you didn't make me come? I never come with a john. Don't feel bad about losing your virtue. I sort of knew you would. Everybody always does."

"Men have paid $200 for me and here you are turning down a freebie. You could get a perfectly good dishwasher for that."

"And for an hour... for an hour, I'm the best actress in the world, and the best fuck in the world."

"[voiceover] I have no idea what's going to happen. I... I just can't stay in this city, you know? Maybe I'll come back. You'll probably see me next week."

"One man is missing. Two girls lie dead. ...and someone breathing on the other end of the phone."

"You'd never take her for a call girl. You'd never take him for a cop."

"Lots of guys swing with a call girl like Bree. One guy just wants to kill her."

"Jane Fonda - Bree Daniels"

"Donald Sutherland - John Klute"

"Charles Cioffi - Peter Cable"

"Roy Scheider - Frank Ligourin"

"Dorothy Tristan - Arlyn Page"

"Rita Gam - Trina"

"Nathan George - Det. Lt. Trask"

"Bakunin? Bakunin was a terrorist monster. You are not an authority on Bakunin just because you used to date every terrorist in Soviet Russia, that does not make you an authority."

"Do you know why being a revolutionary doesn't work in this country? Being a revolutionary in America is like being a spoil sport at an orgy. All these goodies being passed around and you feel like a shit when you say no."

"Hey, man! I can write copy faster than any alcoholic on this floor!"

"Richard Dreyfuss - Moses Wine"

"Susan Anspach - Lila Shea"

"Bonnie Bedelia - Suzanne"

"John Lithgow - Sam Sebastian"

"Ofelia Medina - Alora"

"Nicolas Coster - Spitzer"

"F. Murray Abraham - Howard Eppis"

"Fritz Weaver - Oscar Procari, Sr."

"Ron Rifkin - Randy Esterhaus"

"He's been drugged by those two downstairs. This is a murder. See how he's slowly sliding into the water?"

"The likelihood of one individual being right increases in direct proportion to the intensity with which others are trying to prove him wrong."

"I'm not supposed to be here."

"I'm not really Leo Farnsworth."

"We don't care how much it costs, just how much it makes. If it costs too much, we charge a penny more. Would you pay more to save a fish who thinks?"

"Julia: You locked me in a closet!"

"Max: [whilst training Pendleton in the spacious mansion grounds] This isn't going to work. You're playing football with a bunch of butlers!"

"Bob Crane as Charlie McCready"

"Kurt Russell as Bart"

"Barbara Rush as Sue McCready"

"Joe Flynn as Cyrus Hershberger"

"Kathleen Cody as Wendy McCready"

"Joby Baker as Klutch"

"Dick Van Patten as Ira Kushaw"

"Bruno Kirby as Stanley"

"Judith Lowry as Mother Barlow"

"Ivor Francis as Dr. Skinner on TV"

"Jonathan Daly as Rev. Griffith"

"Naomi Stevens as Mrs. Levin"

"Nicholas Hammond as Roger Rhinehurst"

"Jack Manning as Justice of the Peace"

"Jim Wakefield as House Manager"

"[in a press conference] God knows I am a patriot. I loaned the country 400 Billion. And I want my 400 Million back. Does that make me a bad guy? I've got to eat too, you know! So I'm giving the President until the end of September this year to pay me back, or I'll be forced to foreclose. What can I do? I've got to eat too, you know! Does that make me a bad guy?"

"Everyone all across the country was watching the telethon. From what was left of New York, to the first all-gay state, North Dakota. All eyes were glued to their sets... [shot of men at stand-up urinals watching television] ...which in some cases, ruined a lot of good shoes."

"President Roosevelt was a successful graduate of EST, Scientology, TM and Primal Grope Therapy. And he was elected on a platform unique in American political history: "I'm not a schmuck!" Even though that was Chet's only campaign promise, it looked like it would be a tough one to keep."

"Lucy: [answering the phone at the Western White House] Hi! United States of America!... No, this is Lucy... Oh! Yes, Mr. Ambassador! I'll tell him you called!"

"Panhandler: Excuse me? Sir? Can you spare $25.00 for... for a cup of coffee?"

"Western White House Tour Guide: All right, people. Let's move it! Please, ma'am. No spitting in the hallway!"

"Mouling Jackson: [singing] Don't you ever say "No" to me / Listen, I'm a lady. Period. / Classy, too. / Won't you come over here / And I'll prove it to you / And then if you still don't think / I got style and grace / I'm going to oh, so gracefully / rip the lips off of your face!"

"The ultimate spectacle is now a movie."

"John Ritter - President Chet Roosevelt"

"Harvey Korman - Monty Rushmore"

"Peter Riegert - McMerkin"

"Fred Willard - Vanderhoff"

"Chief Dan George - Sam Birdwater"

"Zane Buzby - Mouling Jackson"

"Meat Loaf - "Oklahoma Roy" Budnitz"

"Elvis Costello - Earl of Manchester"

"Tommy Lasorda - Dunphy"

"Jay Leno - Larry Miller"

"Howard Hesseman - Margolis"

"Cybill Shepherd - Gold Girl"

"George Carlin - the Narrator"

"All right, Popeye's here! Get your hands on your heads, get off the bar, and get on the wall!"

"All right! You put a shiv in my partner. You know what that means? Goddammit! All winter long I got to listen to him gripe about his bowling scores. Now I'm gonna bust your ass for those three bags and I'm gonna nail you for picking your feet in Poughkeepsie."

"There are no rules and no holds barred when Popeye cuts loose!"

"The time is just right for an out and out thriller like this."

"A $32,000,000 chase turns into the American thriller of the year!"

"Doyle is bad news - but a good cop."

"A record too good to be true....and Doyle knows it."

"Gene Hackman - Detective Jimmy "Popeye" Doyle"

"Fernando Rey - Alain Charnier"

"Roy Scheider - Detective Buddy "Cloudy" Russo"

"Tony Lo Bianco - Salvatore "Sal" Boca"

"Marcel Bozzuffi - Pierre Nicoli"

"Frédéric de Pasquale - Henri Devereaux"

"Harold Gary - Joel Weinstock"

"Bill Hickman - Bill Mulderig"

"Eddie Egan - Walt Simonson"

"Sonny Grosso - Agent Klein"

"Ronnie Schell: Sgt. Duffy/Voice of Jake"

"Ken Berry: Dr. Franklin "Frank" Wilson"

"Sandy Duncan: Dr. Elizabeth "Liz" Bartlett"

"Harry Morgan: Gen. Stilton"

"Roddy McDowall: Mr. Stallwood"

"McLean Stevenson: Dr. Norman Link"

"Jesse White: Earnest Ernie (the Gambling Dealer)"

"Alan Young: Dr. Winger (veterinarian)"

"Hans Conried: Chief Dr. Heffel"

"James Hampton: Capt. Anderson"

"Howard Platt: Col. Woodruff"

"William Prince: Mr. Charlie Olympus"

"Ralph Manza: Weasel"

"Tom Pedi: Honest Harry"

"Hank Jones: Officer"

"Sorrell Brooke: Judge"

"Fred Whalen: Sarasota Slim (Pool Hustler)"

"Afterwards, he says, they always embrace. The animal digs his sweaty brow into his cheek and they stand in the dark for an hour, like a necking couple. And of all nonsensical things, I keep thinking about the horse - not the boy, the horse - and what he might be trying to do. I keep seeing the huge head, kissing him with its chained mouth nudging through the metal, some desire absolutely irrelevant of filling its belly or propagating its own kind. What desire could this be? Not to stay a horse any longer? Not to remain reined up forever in those particular genetic strings? Is it possible, at moments we can't imagine, a horse can add its sufferings together, the non-stop jerks and jabs that are its daily life, and turn them into grief? What use is grief to a horse? You see, I'm lost. What use, I should be asking, are questions like these to an overworked psychiatrist in a provincial hospital? They're worse than useless - they are, in fact, subversive."

"The thing is, I'm wearing that horse's head myself, all reined up in old language and old assumptions, straining to jump clean hoofed onto a new track of being that only I suspect is there. I can't see it, because my educated, average head is being held at the wrong angle. I can't jump, because the bit forbids it and my own basic force - my horsepower, if you like - is too little. The only thing I know for sure is this: A horse's head is finally unknowable to me. Yet I handle childrens' heads, which I presume to be more complicated, at least in the area of my chief concern. In a way, it has nothing to do with this boy - the doubts have been there for years, piling up steadily in this dreary place - it's the extremity of this case that's made them active. I know extremity is the point. All the same, whatever the reasons, these doubts are not just vaguely worrying, but intolerable."

"Forgive me. I'm not making much sense. Let me start properly, in order."

"That's what his stare has been saying to me all this time: "At least I galloped — when did you?""

"Worship all you can see, and more will appear."

"All right! The normal is the good smile in a child's eyes. There's also the dead stare in a million adults. It both sustains and kills, like a god. It is the ordinary made beautiful, it is also the average made lethal. Normal is the indispensable murderous God of health and I am his priest."

"Know that, when Equus leaves — if he leaves at all — it will be with your intestines in his teeth — and I don't stock replacements."

"Alright, I take it away, what then? He'd feel himself acceptable, what then? Do you think feelings like his can be simply re-attached, just like plasters stuck on other objects we select? I mean, look at him! My desire might be to make of this boy an ardent husband, a caring citizen, a worshipper of abstract and unifying God; my achievement, however, is more likely to make a ghost. I heal the rash on his body, I'll erase the welts cut into his mind by flying manes and when that's done I'll put him on a metal scooter and send him puttering off into the concrete world and he'll never touch hide again. Hopefully he'll feel nothing at his fork but approved flesh, I doubt, however, with much passion!"

"Passion, you see, can be destroyed by a doctor. It cannot be created. You won't gallop anymore, Alan, the horses will be quite safe. You can save your money each week and change that scooter for a car. You'll spend glorious weekends grooming that. You'll pop round to the betting shops and put fifty pence on a nag, forgetting they ever meant anything more to you than bearers of little profits and little losses. You will, however, be without pain; almost completely without...pain.. and now... for me... it never stops... the voice of Equus, out of the cave."

"Why me? Why me? First, account for me."

"How can I? In an ultimate sense, I cannot know what I do in this place, but I do ultimate things, irreversible things and I, I stand in the dark with a blade in my hand, striking at heads, I need, more desperately than my children need me, a way of seeing in the dark; what way is this? what dark is this? I cannot call it "ordained of God" — I cannot go so far. I will however, pay it so much homage. There is now, in my mouth, this sharp chain. And it never comes out."

"Double your pleasure, double your fun with double good double good double mint gum."

"It WAS sexy! That's what you wanted to know, isn't it?"

"And Flequs spoke out of his chinkle chankle and he said "Behold, I give you Equus, my only begotten son.""

"'My uncle dressed for the horse', she says. But what does that mean? Horse isn't dressed, it's naked. It's the most naked thing you ever saw, more than a dog or a cat or anything. Even the brokenest-down old nag has got it's life - to put a bowler hat on top of it... it's filthy. Putting them through their paces, bloody horse shows, how do they dare? No-one understands, no-one. Except cowboys. They do. But they're free, they just swing up and it's nothing but miles of grass. I bet all cowboys are orphans. I bet they are. No-one ever says to cowboys 'receive my meaning' or 'God.' 'All the time God sees you, Alan, God's got eyes everywhere.' No, I'm not doing anymore, I hate this. You can whistle for anymore, I've had it."

"Prince begat Prance. And Prance begat Prankus. And Prankus begat Flankus. And Flankus begat Spankus. And Spankus begat Spunkus the Great, who lived threescore years. And Leckwus begat Neckwus. And Neckwus begat Fleckwus, the King of Spit. And Fleckwus spoke out of his chinkle-chankle..."

"And he said 'Behold, I give you Equus, my only begotten son.'"

"Dora Strang: Alan is himself. Every soul is itself. If you added up everything we ever did to him, from his first day on earth to this, you wouldn't find why he did this terrible thing... because that's him: not just all of our things added up."

"Richard Burton - Martin Dysart"

"Peter Firth - Alan Strang"

"Colin Blakely - Frank Strang"

"Joan Plowright - Dora Strang"

"Jenny Agutter - Jill Mason"

"I thought that small talk was too small, I thought big talk was too pretentious, I thought music was noise, and I thought art was bullshit."

"Bobby: I've seen a lot of drunks in my day, but I never seen anyone as drunk as you and still be able to walk. You're fantastic."

"Gena Rowlands - Myrtle Gordon"

"Ben Gazzara - Manny Victor"

"Joan Blondell - Sarah Goode"

"Paul Stewart - David Samuels"

"Zohra Lampert - Dorothy Victor"

"John Cassavetes - Maurice Aarons"

"Laura Johnson - Nancy Stein"

"Lady Rowlands - Melva Drake"

"I don't want to be a star. Have my picture in magazines, have a bunch of kids looking up to me. I'm a drunk, Bear, a screw up. I just surf because it's good to go out and ride with your friends. I don't even have that anyone."

"Why don't you get back to Burbank!"

"He ain't no hodad Squidlips!"

"Mexico! Surfboards! Guns!"

"Bear: That's the lemon next to the pie."

"Narrator, Fly: Stay casual, Barlow."

"It's a surfing How Green Was My Valley the loss of an aristocracy, the end of an era, the passing of a more innocent time to a more corrupt and complex one-all growing up is the passing of innocence. It's based on the lives of three friends ten years ago. It's about their friendship, and the value of friendship. I don't think that kids today have the same kind of values that these people had then; I don't see movies being made about that kind of thing. This movie is about friendship: surfing is just the background. It's about love of a place, love of a time, love of your human contacts, and the loss of those things. It's the most personal film I'll probably ever make, and I figured I ought to do it now, before I get too far away from it. At least half the people who participated are dead now. The attrition rate among surfers is very high. A lot of them died in Vietnam and OD'd on dope."

"When I did Big Wednesday my first impressions were that I was going to do this coming-of-age story with Arthurian overtones about surfers that nobody took seriously, their troubled lives made larger than life by their experience with the sea. And that’s what the movie is. It never strayed from that. There was a lot of pressure to make it more like Animal House, but the movie has a huge following now because it did have loftier ambitions. It wasn’t just a story about somebody trying to ride the biggest wave or something. That’s not enough."

"Three friends. Twelve Turbulent Years. And One Day We All Must Face."

"A day will come that is like no other... and nothing that happens after will ever be the same."

"A story of three friends growing up in the sixties; of ten years filled with parties; weddings and uncertainties; and of the day we must all face..."

"Jan-Michael Vincent - Matt Johnson"

"William Katt - Jack Barlowe"

"Gary Busey - Leroy "The Masochist" Smith"

"Patti D'Arbanville - Sally"

"Lee Purcell - Peggy Gordon"

"Sam Melville - Bear"

"Ceila Kay - The Bear's bride"

"Darrell Fetty - Waxer"

"Gerry Lopez - Himself"

"Hank Worden - Shopping Cart"

"Joe Spinell - Psychologist"

"Steve Kanaly - Sally's Husband"

"Barbara Hale - Mrs. Barlow"

"Fran Ryan - Lucy"

"Dennis Aaberg - Slick"

"Reb Brown - Enforcer"

"Arthur Rosenberg - Official"

"Janet Julian - Party girl"

"Charlene Tilton - Party girl"

"Frank McRae - Sergeant"

"Perry Lang - Tall kid"

"Michael Talbott - Hog"

"Robert Englund - Narrator, Fly"

"Keith Davis - Ostrich"

"When I was in college, I had three roommates. One was genius, and one was crazy, and one was inconsequential, kept to himself. It was genius who told me about Kingsfield; first guy to tell me all about Kingsfield. He read an article by him in Life or Time or something called "Contracts in Our Daily Lives". Make a long story short, genius took the law school admissions test, but didn't score high enough to get into Harvard. Genius."

"The study of law is something new and unfamiliar to most of you — unlike any other schooling you have ever known before... You teach yourselves the law, but I train your minds. You come in here with a skull full of mush; you leave thinking like a lawyer."

"I know there's a lot of things to say, but it really isn't worth saying them, so please just get out."

"They finally got you, Hart, they sucked all that Midwestern charm right out of you. Look, he's got you scared to death. You're going to pass, because you're the kind the law school wants."

"Timothy Bottoms - James T. Hart"

"Lindsay Wagner - Susan Fields"

"John Houseman - Charles W. Kingsfield Jr."

"Graham Beckel - Franklin Ford III"

"James Naughton - Kevin Brooks"

"Edward Herrmann - Thomas Craig Anderson"

"Craig Richard Nelson - Willis Bell"

"Robert Lydiard - O'Connor"

"Lenny Baker - William Moss"

"David Clennon - Toombs"

"Regina Baff - Asheley Brooks"

"It's funny, isn't it? Only the white man wants everything put in writing. And only then so he can use it against you in court. You know, among the Indians a promise is good enough."

"Martin, do you know what mental toughness is? Well, mental toughness is the ability to accept the fact that you're human and that you're going to make mistakes - lots of 'em - all your life. And some of them are gonna hurt people that you love very badly. But you have the guts to accept the fact that you ain't perfect. And you don't let your mistakes crush you and keep you from doing the very best that you can."

"So easy for you to die dramatically! It's a hell of a lot tougher for those of us who have to keep on trying!"

"When you need him, he's always there!"

"Just a person who protects children and other living things."

"You've got due process, Mother's Day, supermarkets, the FBI, Medicare, air conditioning, AT&T, country clubs, Congress, a 2-car garage, state troopers, the Constitution, color television and democracy. They've got BILLY JACK."

"Tom Laughlin - Billy Jack"

"Delores Taylor - Jean Roberts"

"Clark Howat - Sheriff Cole"

"Victor Izay - Doctor"

"Julie Webb - Barbara"

"Debbie Schock - Kit"

"Teresa Kelly - Carol"

"Lynn Baker - Sarah"

"Stan Rice - Martin"

"David Roya - Bernard Posner"

"John McClure - Dinosaur"

"Susan Foster - Cindy"

"Susan Sosa - Sunshine"

"Bert Freed - Mr. Stuart Posner"

"Kenneth Tobey - Deputy Mike"

"Howard Hesseman - Howard"

"And when I take over your muthafuckin' job, know what I'm gonna do baby? Gonna get on my private jet and wing up to Palm Springs. Hang out with Eddie Knuckles, and hit a few golfballs with President Ford and Nixon and them muthafuckas."

"[just before the union break-in] Maybe we should've robbed a liquor store like everybody else."

"Man, flick my Bic!"

"Credit's the only thing you can get free from the company. Got a house, fridge, dishwasher, washer-dryer, TV, stereo, motorcycle, car..."buy this shit, buy that shit." All you got's a buncha shit."

"The company builds cars and destroys men"

"Whatever became of the "American Dream"?"

"Richard Pryor - Zeke Brown"

"Harvey Keitel - Jerry Bartowski"

"Yaphet Kotto - Smokey James"

"Ed Begley Jr. - Bobby Joe"

"Harry Bellaver - Eddie Johnson"

"George Memmoli - Jenkins"

"Lucy Saroyan - Arlene Bartowski"

"Lane Smith - Clarence Hill"

"Cliff De Young - John Burrows"

"Borah Silver as Dogshit Miller"

"Chip Fields - Caroline Brown"

"Harry Northrup as Hank"

"Leonard Gaines - Mr. Bird, IRS Man"

"Milton Selzer - Sumabitch"

"Sammy Warren as Barney"

"Jimmy Martinez - Charlie T. Hernandez"

"Call me by my dream name. Call me!"

"Father Lankester Merrin died in Georgetown, near Washington, D.C., while attempting to exorcise a 12-year-old child, Regan MacNeil. The name of the spirit that possessed her was Pazuzu, an Assyrian demon traditionally known as the king of the evil spirits of the air. Father Merrin had first encountered this demon in Ethiopia forty years earlier, when it possessed a young African boy. Father Merrin believed the human spirit was on the threshold of a great leap forward—either into goodness or evil. His teachings inspired many disciples, of which I was one, and his death dispirited us deeply. So it was that four years later, I climbed a hill in South America with a heavy heart, for it had fallen to me to carry on Father Merrin's struggle."

"I've flown this route before. It was on the wings of a demon."

"When the wings have brushed you... is there no hope once the wings have brushed you?"

"[regarding the Catholic church] Satan has become an embarrassment to our progressive views."

"You've got to fight that demon that's inside her! It's preventing her from reaching full spiritual power!"

"Don't you understand... that I was face to face with the Evil that's inside her. Your machine has proved scientifically that there's an ancient demon locked within her!"

"You realize what you're up against, don't you? Evil. Evil is a spiritual being, alive and living, perverted and perverting, weaving its way insidiously into the very fabric of life."

"The power... it's getting nearer. Can't you feel it? The power is immense. It fills me. I can do anything."

"It was horrible. Utterly horrible... and fascinating."

"[last words] REGAN!!! AAAHH!!! [crushed to death]"

"Pazuzu: No! Once the wings have brushed you, you're mine forever!"

"Older Kokumo: If Pazuzu comes for you, I will spit a leopard."

"It's four years later...what does she remember?"

"Linda Blair - Regan McNeil"

"Richard Burton - Father Philip Lamont"

"Louise Fletcher - Dr. Gene Tuskin"

"Max von Sydow - Father Merrin"

"Kitty Winn - Sharon Spencer"

"Paul Henreid - The Cardinal"

"James Earl Jones - Older Kokumo"

"Ned Beatty - Edwards"

"Belinda Beatty - Liz"

"Rose Portillo - Spanish Girl"

"Ken Renard - Abbot"

"Barbara Cason - Mrs. Phalor"

"Joey Green - Young Kokumo"

"Richard Paul - Man on the Plane"

"Dana Plato - Sanda Phalor"

"Karen Knapp - Pazuzu"

"Marianne Muellerleile - Patient"

"[to his therapist] I was, uh, I was always very shy when it came to girls. I - I remember when I was a little boy, I - I once stole a pornographic book that was printed in Braille, and I - I used to rub the dirty parts. And I, um, I guess I had a good relationship with my parents. I - I - I - they very rarely h- I think they hit me once, actually, in my whole childhood. They, uh, started beating me on the 23rd of December, 1942 and stopped beating me in the late spring of '44. Um, I don't know, I was a nervous child. I was a bed wetter. When I was younger, I, I, uh, used to sleep with an electric blanket, and I was constantly electrocuting myself."

"You cannot bash in the head of an American citizen without written permission from the State Department."

"Although the United States is, uh, a very rich country and San Marcos is a very poor one, there are a great many things we have to offer your country in return for aid. For instance, there, uh, there are locusts. Uh, we have more locusts than...uh, locusts of all races and creeds. These, these locusts, incidentally, are available at popular prices. And so, by the way, are most of the women of San Marcos...despite the tiny size of our nation, few people realize that we lead the world in hernias. They also fail to realize that before Columbus discovered your country, he stopped in San Marcos and contracted a disease which today can be cured with one shot of penicillin."

"We fell in love. I fell in love - she just stood there."

"Can you believe that? She says I'm not leader enough for her. Who was she looking for, Hitler?"

"Today's top stories: The United States government brings charges against Fielding Mellish as a subversive impostor, New York garbage men are striking for a better class of garbage, and the National Rifle Association declares death a good thing."

"Woody Allen - Fielding Mellish"

"Louise Lasser - Nancy"

"Carlos Montalban - Gen. Emilio M. Vargas"

"David Ortiz - Sanchez"

"Natividad Abascal - Yolanda"

"Dorothi Fox - J. Edgar Hoover"

"Dan Frazer - Priest"

"Howard Cosell - Himself"

"Don Dunphy - Himself"

"Roger Grimsby - Himself"

"You fool! You raving Oriental idiot! There is a time and a place for everything, Cato! ...and this is it!!"

"I see you are familiar with the falling-down-on-the-floor ploy."

"Valet, this is Inspector Clouseau. Please send up my... well, please send down my brown suit immediately. As quick as you can. Quicker, please!"

"[after inadvertently destroying much of the hotel he is in]: I must leave. Zis Hotel is deteriorating rapidly."

"[to a taxi driver]: Follow that car! [driver gets out of the taxi and follows the car]"

"I did not know the bank was being robbed because I was engaged in my sworn duty as a police officer."

"I arrest you, Sir Charles Phantom, the notorious pink Lytton."

"Now he's off to Gstaad. Today... a paradise in the Swiss Alps; tomorrow... a wasteland! Compared to Clouseau, Attila the Hun was a Red Cross volunteer!"

"[to Francois, after accidentally shooting himself in the face] Don't just stand there, idiot. Call a doctor, and then help me find my nose!!"

"I am a musician and the monkey is a businessman. He doesn't tell me what to play, and I don't tell him what to do with his money."

"You can rest assured that there's trouble, because Inspector Clouseau is on the case. (That's the trouble.)"

"HE'S BACK...no risk is too daring...No caper is too exotic...No crime is too dangerous."

"Peter Sellers - Insp. Jacques Clouseau"

"Herbert Lom - Chief Insp. Charles Dreyfus"

"Christopher Plummer - Sir Charles Lytton"

"Catherine Schell - Lady Claudine Lytton"

"Burt Kwouk - Cato Fong"

"Uh, you uh, all know that we hand out a game ball to the outstanding player. Well, I'd like to change that. We just got word that Brian Piccolo is - that's he's sick, very sick. And, uh, it looks, uh, like he might never play football again, or, uh, a long time. And, I think we should dedicate ourselves to, uh, give our maximum effort to win this game and give the game ball to 'Pic'. We can all sign it. And take it up. Aw, sh—Oh, my God."

"[accepting the George S. Halas award] I'd like to tell you about a guy I know, a friend of mine. His name is Brian Piccolo. And he has the heart of a giant, and that rare form of courage that allows him to kid himself and his opponent, cancer. He has a mental attitude that makes me proud to have a friend who spells out the world 'courage,' 24 hours a day, every day of his life. Now you honor me by giving me this award. But I say to you here now Brian Piccolo is the man who deserves the George S. Halas award. It is mine tonight... and Brian Piccolo's tomorrow. I love Brian Piccolo. And I'd like all of you to love him too. And so tonight, when you hit your knees, please ask God to love him."

"So, Concannon calls this trap play, and it's just beautiful... 43 yards, wasn't it 43? Ah. So, Halas sees he's tired, and sends me in, so I go in, he comes out. Concannon then figures he's gonna get REALLY foxy... you know, Concannon is... So, he says, "Um, same play. VERY SAME PLAY." Now, a trap play is also called, a SUCKER play, because it makes the defense look REAL bad when it works. Now, defenses DO NOT like to look real bad, see... it makes 'em kinda surly... So, anyway, all the linemen go this way, and it's like I am lookin' at a team portrait of the Los Angeles Rams! "Hey, Deacon! Merlin! How's the family, Rosey?""

"Brian Piccolo died of cancer at the age of 26. He left a wife and three daughters. He also left a great many loving friends who miss and think of him often. But when they think of him, it's not how he died that they remember - but how he lived. How he did live!"

"Narrator: Ernest Hemingway once said "Every true story ends in death." Well, this is a true story."

"James Caan - Brian Piccolo"

"Billy Dee Williams - Gale Sayers"

"Jack Warden - Coach George Halas"

"Shelley Fabares - Joy Piccolo"

"Judy Pace - Linda Sayers"

"Bernie Casey - J.C. Caroline"

"David Huddleston - Ed McCaskey"

"Ron Feinberg - Doug Atkins"

"Jack Concannon - Himself"

"Abe Gibron - Himself"

"Ed O'Bradovich - Himself"

"Dick Butkus - Himself"

"[Reading a Bible] Here is wisdom. Let he who hath understanding count the number of the Beast. For it is the number of a man, and his number is six hundred and sixty-six."

"[To Damien's platoon] You'll speak only when spoken to. And you'll listen to every word I say. I intend to shine in my new job, and the only way I can do that is by making you shine. You're the little unit I have to polish until the glare of your achievements blinds everybody on this parade ground."

"Be proud of your accomplishments. Pride's all right when there's reason to be proud."

"The first time was only a warning."

"These eyes will follow you wherever you go and you will experience a new dimension of fear."

"These eyes will follow you wherever you go and your nightmares will become a frightening reality."

"William Holden - Richard Thorn"

"Lee Grant - Ann Thorn"

"Robert Foxworth - Paul Buher"

"Lew Ayres - Bill Atherton"

"Sylvia Sidney as Aunt Marion"

"Jonathan Scott-Taylor - Damien Thorn"

"Nicholas Pryor as Dr. Charles Warren"

"Lance Henriksen -Sergeant Daniel Neff"

"Elizabeth Shephard - Joan Hart"

"Lucas Donat - Mark Thorn"

"Allan Arbus - David Pasarian"

"Meshach Taylor - Dr. Kane"

"Leo McKern - Carl Bugenhagen"

"Ian Hendry - Michael Morgan"

"Jack Nicholson - David Staebler"

"Bruce Dern - Jason Staebler"

"Ellen Burstyn - Sally"

"Julia Anne Robinson - Jessica"

"Scatman Crothers - Lewis"

"Charles Lavine - Grandfather"

"The word "impossible," Mr. Booth, is only found in the dictionary of fools. [Napoleon Bonaparte]"

"Some cause must have created all this, but what caused that cause?"

"In, through... and beyond."

"If there's any justice at all, the black hole will be your grave!"

"These poor creatures are what's left of the crew...kept alive by means I don't pretend to understand."

"[badly damaged in a shootout with Maximilian] It's no use, V.I.N.CENT! My useful days are finished! But part of me goes with ya. You'll never be obsolete. [dying, his systems failing] Carry on the tradition. We're the best... [His systems die and so does he. V.I.N.CENT's eyes slowly look down at his comrade in arms, then turns towards the probe ship, turning his head backwards to look at B.O.B. once more as he leaves.]"

"A wolf remains a wolf, even if it has not eaten your sheep [Manchurian proverb]"

"A pint cannot hold a quart, Mr. Pizer. If it holds, the pint is doing the best it can. [Margaret Deland]"

"I don't mean to sound superior, but I hate the company of robots."

"To quote Cicero: rashness is the characteristic of youth, prudence that of mellowed age, and discretion the better part of valor."

"All sunshine makes a desert, so the Arabs say."

"[to Captain S.T.A.R. being damaged having lost a match] If One Dances...One Must Pay The Piper [Captain S.T.A.R. starts smoking while throwing a fit until overloading] If There's Anything I CANNOT STAND...It's A Sore Loser [Captain S.T.A.R. blows a fuse and collapses]"

"[to B.O.B.] They still haven't improved on our model. You can't modify perfection. We are the best."

"A journey that begins where everything ends"

"[from trailer] There is an inexorable force in the cosmos where time and space converge. A place beyond man's vision, but not his reach. It is the most mysterious and awesome point in the universe, where the here and now may be forever. It is unavoidable, moving through space, swallowing everything in its path, radio waves, light, even planets and stars. Now, man is about to enter...The Black Hole. A journey that begins where everything ends."

"Maximillian Schell - Dr. Hans Reinhardt"

"Anthony Perkins - Dr. Alex Durant"

"Robert Forster - Captain Don Holland"

"Joseph Bottoms - Lieutenant Charlie Pizer"

"Yvette Mimieux - Dr. Kate McCrae"

"Ernest Borgnine - Harry Booth"

"Tom McLoughlin - Captain S.T.A.R. ("Special Troops/Arms Regiment")."

"Roddy McDowall - Voice of V.I.N.CENT (uncredited)"

"Slim Pickens - Voice of Old B.O.B. (uncredited)"

"[to Meadows] Boy, they really stuck it to ya, didn't they, kid! Stick it in and break it off. Up your giggy with a wah-wah brush, stick it in an' break it off."

"[to Meadows] Welcome to the wonderful world of pussy, kid."

"I hate this detail. I hate this fucking chickenshit detail!"

"[to Buddusky] I consider myself in jeopardy with you man, understand? In jeopardy. This ain't no farewell party n' he ain't retirin'. Understand? He's a prisoner n' we're takin' 'im to the jailhouse. N' you have a tendency to forget that. You're a menace, man. You ain't no simple shit Bad-Ass, you're a motherfuckin' menace. But from now on, MAA can go piss up a rope! You ain't no honcho! N' I wanna hear no more of this horseshit psychology jive! No more turnin' that boy's head around to prove what a fuckin' big man you are! You're a lifer like me! Navy's the best thing ever happened to me, n' I don't want'cha to fuck me up, y'understand?"

"Jack Nicholson - Signalman First Class Billy L. "Bad Ass" Buddusky"

"Otis Young - Gunner's Mate First Class Richard "Mule" Mulhall"

"Randy Quaid - Seaman Laurence M. "Larry" Meadows"

"Clifton James - M. A. A."

"Carol Kane - Young Whore"

"Michael Moriarty - First Lieutenant Marine Duty Officer"

"Nancy Allen - Nancy"

"Gilda Radner - Nichiren Shoshu Member"

"Jim Hohn - Nichiren Shoshu Member"

"Luana Anders - Donna"

"[to a criminal in custody] I want to talk to you. I want to take you across the street, get you a cup of coffee... without cuffs. Now look, I didn't touch you upstairs, right? You take off on me, I'll put one in your back. Understand? Come on."

"[testifying before the Knapp Commission] Through my appearance here today... I hope that police officers in the future will not experience... the same frustration and anxiety that I was subjected to... for the past five years at the hands of my superiors... because of my attempt to report corruption. I was made to feel that I had burdened them with an unwanted task. The problem is that the atmosphere does not yet exist... in which an honest police officer can act... without fear of ridicule or reprisal from fellow officers. Police corruption cannot exist unless it is at least tolerated... at higher levels In the department. Therefore, the most important result that can come from these hearings... is a conviction by police officers that the department will change. In order to ensure this... an independent, permanent investigative body... dealing with police corruption, like this commission, is essential."

"[given a detective's gold badge] What's this for? For bein' an honest cop? Hmm? Or for being stupid enough to get shot in the face? You tell them that they can shove it."

"The reality is that we do not wash our own laundry - it just gets dirtier."

"You stupid fuck! You didn't know me? You fired without a warning, without a fucking brain in your head? Oh, shit. If I buy one, motherfucker, I ain't buying it from you."

"Al Pacino - Frank Serpico"

"John Randolph - Chief Sidney Green"

"Jack Kehoe - Tom Keough"

"Biff McGuire - Captain Inspector McClain"

"Barbara Eda-Young - Laurie"

"Cornelia Sharpe - Leslie Lane"

"Tony Roberts - Bob Blair"

"John Medici - Pasquale Serpico"

"Allan Rich - District Attorney Herman Tauber"

"Norman Ornellas - Don Rubello"

"Edward Grover - Inspector Lombardo"