1980s American films

"If my calculations are correct, when this baby hits 88 miles per hour, you're gonna see some serious shit."

"Next Saturday night, we're sending you back to the future!"

"I'm sure that in 1985, plutonium is available in every corner drugstore, but in 1955, it's a little hard to come by."

"Great Scott!"

"Since you're new here, I-I'm gonna cut you a break, today. So, why don't you make like a tree and get outta here?"

"Meet Marty McFly. He's broken the time barrier. Busted his parents' first date. And, maybe, botched his chances of ever being born."

"17-year-old Marty McFly got home early last night. 30 years early."

"Marty McFly just broke the time barrier. He's only got one week to get it fixed."

"Marty McFly's having the time of his life. The only question is—what time is it?"

"He was never in time for his classes... He wasn't in time for his dinner... Then one day... he wasn't in his time at all."

"Bumping into your parents is no big deal unless you bump into them before you were born."

"He's the only kid ever to get into trouble before he was born."

"Hello? Anybody home? Think McFly, Think!"

"Marty McFly has just come between the most unlikely couple in high school... His parents."

"Marty McFly's future is catching up with him."

"Marty McFly took a spin in a new sports car last night. But he never got past '55. 1955."

"The story of a young man with a great future behind him."

"Marty's parents were destined to meet in 1955. Until Marty dropped in from the future."

"Before rock and roll , Before diet soda , Before designer jeans , running shoes and video games… One boy had a vision of what was to come — because he had just been there."

"Michael J. Fox — Marty McFly"

"Christopher Lloyd — Doc Brown"

"Thomas F. Wilson — Biff Tannen"

"Lea Thompson — Lorraine McFly"

"Crispin Glover — George McFly"

"James Tolkan — Mr. Strickland"

"Donald Fullilove — Goldie Wilson"

"Claudia Wells — Jennifer Parker"

"Harry Waters Jr. — Marvin Berry"

"I cannot imagine what kind of callous moron could possibly see anything in being a victim of bullying. Maybe the idea comes from our cultural propaganda, where the bullied nerd, like Back to the Futures McFly, always fights back in the triumphant climax, becomes a stronger person for it, and goes on to be a successful patron of a nuclear family, while the bully winds up washing his car. Bullying, in our cultural propaganda, is simply a dramatic plot device which the hero overcomes. Rarely, if ever, is it represented as it really works- as something privately eating away at kids, flat and uninteresting, and never overcome."

"Bob Zemeckis and I had written three movies together, and we had always wanted to do a time-travel story. We'd just never figured out how. What turned the light on for me was coming across my dad's old high-school yearbook and thinking, "Would we have been friends if we'd been at school together?" All of us have that revelation when we understand that our parents were young once, too. That's a big moment. Then there is the message that we all have control over our destinies. I thought we could dramatise those two things."

"I think the first film resonates so well with audiences because of the element of wish-fulfilment at its heart. We've all said to ourselves, "I wish I could go back in time and change something" or, "If only I could do that over again.""

"Come with me if you want to live."

"[When Sarah proceeds to crush the terminator with a hydraulic press] You're terminated, fucker!"

"In the 21st century, a weapon will be invented like no other. This weapon will be powerful, versatile and indestructible. It can't be reasoned with. It can't be bargained with. It will feel no pity. No remorse. No pain. No fear. It will have only one purpose: to return to the present and prevent the future. This weapon will be called...The Terminator."

"It came from a war-torn future to destroy the past. Its target: an ordinary woman - Sarah Connor. Her only ally: another traveler through time."

"The machines rose from the ashes of the nuclear fire. Their war to exterminate mankind had raged for decades, but the final battle would not be fought in the future. It would be fought here, in our present. Tonight..."

"In the Year of Darkness, 2029, the rulers of this planet devised the ultimate plan. They would reshape the Future by changing the Past. The plan required something that felt no pity. No pain. No fear. Something unstoppable. They created the Terminator."

"The thing that won't die, in the nightmare that won't end."

"Your future is in its hands."

"There is no fate but what we make for ourselves."

"Before Terminator came out I began to hear from people, 'Gee, there's this script they're going to shoot that reads an awful lot like your script for Soldier. Now Soldier had been available on videocassette for many years. Demon with a Glass Hand had won all the awards but Soldier was right there in popularity."

"Arnold Schwarzenegger – Terminator"

"Michael Biehn – Kyle Reese"

"Linda Hamilton – Sarah Connor"

"Paul Winfield – Lieutenant Ed Traxler"

"Lance Henriksen – Detective Hal Vukovich"

"Bess Motta – Ginger Ventura"

"Earl Boen – Dr. Peter Silberman"

"Rick Rossovich – Matt Buchanan"

"[repeated line] As you wish."

"[after knocking out Fezzik] I don't envy you the headache you'll have when you awake. But, in the meantime, rest well...and dream of large women."

"[to Buttercup] There is a shortage of perfect breasts in this world. It would be a pity to damage yours."

"[to Westley] Beautiful, isn't it? It took me half a lifetime to invent it. I'm sure that you've discovered my deep and abiding interest in pain. At present, I'm writing the definitive work on the subject, so I want you to be totally honest with me on how the machine makes you feel. This being our first try, I'll use the lowest setting. As you know, the concept of the suction pump is centuries old. Really, that's all this is, except that instead of sucking water, I'm sucking life. [the machine activates; Westley screams] I've just sucked one year of your life away. I might one day go as high as five, but I really don't know what that would do to you, so let's just start with what we have. What did this do to you? Tell me. And remember, this is for posterity, so be honest. How do you feel? [Westley whimpers] Interesting."

"[to Inigo] You're that little Spanish brat I taught a lesson to all those years ago. Simply incredible. Have you been chasing me all this time, only to fail now? I think that's the worst thing I've ever heard of. How marvelous."

"I always think everything could be a trap...which is why I'm still alive."

"Scaling the Cliffs of Insanity, Battling Rodents of Unusual Size, Facing torture in the Pit of Despair. - True love has never been a snap."

"It's as real as the feelings you feel"

"Heroes. Giants. Villains. Miracle Men. True Love. - Not just your basic, average, everyday, ordinary, run-of-the-mill, ho-hum fairy tale."

"She gets kidnapped. He gets killed. But it all ends up okay."

"OH, MY GOD! HER DRESS IS ON FIRE! SHE'S ON FIRE!!!"

"You're setting fire to Robin on the first day?! What are you, nuts? It's not like we can replace her!"

"It was in one of those cinema books as one of the greatest screenplays ever written that had never been produced."

"Cary Elwes - Westley/Dread Pirate Roberts"

"Mandy Patinkin - Inigo Montoya"

"Chris Sarandon - Prince Humperdinck"

"Christopher Guest - Count Rugen"

"Wallace Shawn - Vizzini"

"André the Giant - Fezzik"

"Fred Savage - The Grandson"

"Robin Wright - Buttercup/The Princess Bride"

"Peter Falk - The Grandfather"

"Peter Cook - The Impressive Clergyman"

"Mel Smith - The Albino"

"Carol Kane - Valerie"

"Billy Crystal - Miracle Max"

"It's Not Just A Game Anymore."

"Murder, madness, mystery, and mayhem. More fun than you can imagine."

"Seven Suspects, Six Weapons, Five Bodies and Three Endings."

"Eileen Brennan - Mrs. Peacock"

"Tim Curry - Wadsworth"

"Madeline Kahn - Mrs. White"

"Christopher Lloyd - Prof. Plum"

"Michael McKean - Mr. Green"

"Martin Mull - Col. Mustard"

"Lesley Ann Warren - Miss Scarlet"

"Colleen Camp - Yvette"

"Lee Ving - Mr. Boddy"

"Give me the child. Through dangers untold and hardships unnumbered, I have fought my way here to the castle beyond the Goblin City to take back the child that you have stolen. For my will is as strong as yours, and my kingdom as great — You have no power over me."

"You really wanted to talk to me, didn't you? Practically broke down the door."

"Someone has been in my room again. I hate that. I hate it!"

"Someone save me, someone take me away from this awful place!"

"Once upon a time, there was a beautiful young girl whose stepmother always made her stay home with the baby. And the baby was a spoiled child, and wanted everything for himself, and the young girl was practically a slave. But what no one knew is that the king of the goblins had fallen in love with the girl, and he had given her certain powers. So one night, when the baby had been particularly cruel to her, she called on the goblins for help! "Say your right words," the goblins said, "and we'll take the baby to the Goblin City. And you will be free." But the girl knew that the king would keep the baby in his castle for ever and ever and ever, and turn it into a goblin."

"I can bear it no longer! Goblin King! Goblin King! Wherever you may be, take this child of mine far away from me!"

"I wish the goblins would come and take you away, right now."

"I have to face him alone... because that's the way it's done."

"In nine hours and twenty-three minutes... you'll be mine!"

"I think I'll call him Jareth. He's got my eyes."

"Stepmother: She treats me like a wicked stepmother in a fairy story, no matter what I say."

"Hoggle: The Cleaners, the Bog of Stench—you sure got his attention!"

"Hoggle: Let's get that rat who calls himself Jareth!"

"Bird Hat: It is so stimulating being your hat!"

"Goblin: Your mother is a fraggin' aardvark!"

"Goblin Cannonball: I hit zumzing? Yes? No?"

"Fiery: It's against the rules to throw other people's heads."

"Didymus: You're going the wrong way! The battle's BEHIND us!"

"Didymus: [as Ambrosius charges out of the gates] AMBROSIUS, if you don't turn around this second, I WILL NEVER FEED YOU AGAIN! [a screeching sound is heard and Ambrosius comes back inside] That's better! Don't worry, Ambrosius, I think we have them surrounded! [looks at the goblins surrounding him] Now, if you throw down your weapons, I'll see that you're well treated!"

"No one can blame you for walking away, but too much rejection nah nah, no love injection, nah nah. Life can't be easy, it’s not always swell. (Underground)"

"Don't tell me truth hurts, little girl, 'cause it hurts like hell. (Underground)"

"But down in the Underground, you'll find someone true. Down in the underground, a land serene, a crystal moon... ahh ahh. It’s only forever, not long at all. The lost and the lonely, that’s underground, underground. (Underground)"

"You remind me of the babe (what babe?) the babe with the power (what power?) the power of voodoo (who do?) you do (do what?) remind me of the babe! (Magic Dance)"

"Slap that baby, make him free! (Magic Dance)"

"Good times, bad food... (Chilly Down)"

"There's such a sad love deep in your eyes, a kind of pale jewel, opened and closed within your eyes, I'll place the sky within your eyes... (As the World Falls Down)"

"I'll paint you mornings of gold, I'll spin you Valentine evenings... (As the World Falls Down)"

"Everything I've done, I've done for you. I move the stars for no one. (Within You)"

"Your eyes can be so cruel, just as I can be so cruel... (Within You)"

"Live without the sunlight. Love without your heartbeat. I... I can't live within you. (Within You)"

"Where everything seems possible and nothing is what it seems."

"Where anything is possible."

"David Bowie — Jareth the Goblin King"

"Jennifer Connelly — Sarah Williams"

"Toby Froud — Toby"

"Shelley Thompson — Stepmother"

"Christopher Malcolm — Father"

"Shari Weiser - Hoggle"

"Brian Henson — Hoggle (voice)"

"Ron Mueck — Ludo (voice)"

"David Shaughnessy — Sir Didymus (voice)"

"A beginning is a very delicate time. Know then that it is the year 10,191. The Known Universe is ruled by the Padishah Emperor Shaddam IV, my father. In this time, the most precious substance in the universe is the spice Melange. The spice extends life. The spice expands consciousness. The spice is vital to space travel. The Spacing Guild and its navigators, who the spice has mutated over 4,000 years, use the orange spice gas, which gives them the ability to fold space. That is, travel to any part of the universe without moving. Oh, yes. I forgot to tell you — the spice exists on only one planet in the entire universe. A desolate, dry planet with vast deserts. Hidden away within the rocks of these deserts are a people known as the Fremen, who have long held a prophecy that a man would come, a messiah who would lead them to true freedom. The planet is Arrakis, also known as Dune."

"The powerful Bene Gesserit sisterhood for 90 generations has been manipulating bloodlines to produce the Kwisatz Haderach, a super being. On Caladan, Jessica, a member of the sisterhood and the bound concubine of Duke Leto Atreides, had been ordered to bear only daughters. Because of her love for the Duke, she disobeyed, and gave birth to a son. Paul... Paul Atreides."

"House Atreides took control of Arrakis 63 standard days into the year 10,191. It was known that the Harkonnens, the former rulers of Arrakis, would leave many suicide troops behind. Atreides patrols were doubled."

"Following the Bene Gesserit tradition, the old Reverend Mother surrendered her life as she surrendered her knowledge. Jessica has successfully transmuted the poisonous Water of Life. The tremendous power of the Water of Life caused the premature birth of Jessica's daughter, Alia. Alia was born with all the knowledge and powers of a Reverend Mother."

"In the two standard years that followed, Muad'Dib and his Fremen brought spice production to a standstill. Fearing for his life, Rabban did his best to hide this fact from his uncle, the Baron. Paul's sister, Alia, matured at a frightening rate. Her small body harbored tremendous powers. Paul and Chani's love grew."

"Muad'dib had become the hand of God, fulfilling the Fremen prophecy. Where there was war, Muad'dib would now bring peace. Where there was hatred, Muad'dib would bring love. To lead the people to true freedom, and to change the face of Arrakis."

"Thank you for joining me, Paul. Thufir Hawat has served House Atreides for three generations. He swears you are the finest student he has ever taught. Yueh, Gurney and Duncan say the same. It makes me feel very proud."

"I'll miss the sea, but a person needs new experiences. They jar something deep inside, allowing him to grow. Without change something sleeps inside us, and seldom awakens. The sleeper must awaken."

"[voiceover] Jessica, what is wrong? Forgive me, my beloved concubine. I should have married you. Why hold a dream to ascend to a throne through a political marriage? I should have married you."

"The Atreides house is building a secret army, using a technique unknown to us; a technique involving sound. The Duke is becoming more popular in the Landsraad; he could threaten me. I have ordered House Atreides to occupy Arrakis, to mine the spice, thus replacing their enemies, the Harkonnens. House Atreides will not refuse because of the tremendous power they think they will gain. Then, at an appointed time, Baron Harkonnen will return to Arrakis and launch a sneak attack on House Atreides. I have promised the Baron five legions of my Sardukar terror-troops."

"This is genocide! The deliberate and systematic destruction of all life on Arrakis!"

"Bring in that floating fat man, the Baron!"

"I must not fear. Fear is the mind-killer. Fear is the little death that brings total obliteration. I will face my fear. I will permit it to pass over me and through me."

"Remember: Walk without rhythm and we won't attract the worm. It will go to the thumper."

"This is part of the weirding way that we will teach you. Some thoughts have a certain sound, that being equivalent to a form. Through sound and motion, you will be able to paralyze nerves, shatter bones, set fires, suffocate an enemy or burst his organs. We will kill until no Harkonnen breathes Arrakeen air."

"My name is a killing word. They are ready to fight. Yet in order to lead them, I must conquer the worm ... conquer Shai-Hulud."

"I'm dead to everyone unless I try to become what I may be."

"I am Usul. Paul Muad'Dib. Our shared enemy, the Harkonnens, are once again in control of Arrakis. Stilgar, your leader, has asked me and my mother to teach you the weirding way to crush the Harkonnens. We must do more than this, we must totally destroy all spice production on Arrakis. The Guild and the entire universe depends on spice. He who can destroy a thing, controls a thing. I will take 100 of your warriors and train them, this 100 will train the thousands that remain. When the spice flow stops, all eyes will turn to Arrakis. The Baron and the Emperor himself will be forced to deal with us. Arrakis will become the center of the universe."

"When the spice flow stops, all eyes will turn to Arrakis. The Baron and the Emperor himself will be forced to deal with us."

"Your time has come. A storm is coming. Our storm. And when it arrives, it will shake the universe. Emperor...we come for you!!"

"Long live the fighters!"

"Father... father, the sleeper has awakened!"

"We Fremen have a saying: "God created Arrakis to train the faithful." One cannot go against the word of God."

"(Thinking about Leto's reaction after the sandworm attack) He's more concerned about the men than the spice. I must admit, against all judgement, I like this duke."

"Tell me of your homeworld, Usul."

"(Before Paul takes the Water of Life) Paul... whatever happens, I will love you forever. You are my life. You are my life."

"Did you really think you could bear the Kwisatz Haderach, the universe's super being? How dare you! My greatest student... and my greatest disappointment."

"It is by will alone I set my mind in motion. It is by the juice of Sapho that thoughts acquire speed, the lips acquire stains, the stains become a warning. It is by will alone I set my mind in motion."

"Feyd, Rabban, go quietly. No other great house of the Landsraad must ever know of the Emperor's aid to the Baron. The entire Landsraad would turn against the Baron and the Emperor."

"A secret report within the Guild. Four planets have come to our attention... regarding a plot which could jeopardize spice production. Planet Arrakis, source of the spice. Planet Caladan, home of House Atreides. Planet Giedi Prime, home of House Harkonnen. Planet Kaitain, home of the Emperor of the Known Universe. Send a third stage Guild Navigator to Kaitain to demand details from the Emperor. The spice must flow..."

"The Bene Gesserit witch must leave."

"I mean Paul Atreides. We want him killed. Blend his extinction into your recipe and you will come with a meal to our liking. I did not say this. I am not here."

"Put the pick in there, Pete, and turn it round real neat. ...You are so beautiful, my Baron. Your skin — love to me. Your diseases — lovingly cared for for all eternity!"

"My lord, I suspect so much. I think the Fremen are the allies we seek. They are strong, fierce. They do not give their loyalty easily or quickly. As you know, the Imperium has never been able to take a census of the Fremen. Everyone thinks that there are but few wandering here and there in the desert. My lord, I suspect an incredible secret has been kept on this planet, that the Fremen exist in vast numbers—vast—and it is they who control Arrakis."

"Hmmm. Shai-hulud."

"Who is the little one, a pet perhaps? Will she deserve my special attentions?"

"Why prolong the inevitable? I will kill you! — I will kill him! I WILL KILL HIM!!!"

"A world beyond your experience, beyond your imagination."

"A place beyond your dreams. A movie beyond your imagination."

"It was a rough place - the seediest dive on the wharf. Populated with every reject and cutthroat from Bombay to Calcutta. It's worse than Detroit."

"Ladies and gentlemen, this is your stewardess speaking. We regret any inconvenience the sudden cabin movement might have caused. This is due to periodic air pockets we encountered. There's no reason to become alarmed and we hope you enjoy the rest of your flight. By the way, is there anyone on board who knows how to fly a plane?"

"Looks like I picked the wrong week to quit smoking."

"Looks like I picked the wrong week to quit drinking."

"Looks like I picked the wrong week to quit amphetamines."

"Looks like I picked the wrong week to quit sniffing glue!"

"All right, Striker, you listen, and listen close. Flying a plane is no different from riding a bicycle; it's just a lot harder to put baseball cards in the spokes."

"Jack Kilpatrick: Shana, they bought their tickets. They knew what they were getting into. I say, let 'em crash!"

"Young Girl Passenger: [when offered cream for her coffee] No thank you, I take it black…like my men."

"Radio Announcer: "WZAZ in Chicago where disco lives forever" (The Airplane then took out the antenna forcing the station to go off the air)."

"What's slower than a speeding bullet, and able to hit tall buildings at a single bound?"

"Thank God it's Only a Motion Picture!"

"The craziest flight you'll ever take!"

"The Plane's going to Chicago. The Pilot's going to New York. The Passengers are going to Pieces!"

"Kareem Abdul-Jabbar — Roger Murdock"

"Lloyd Bridges — McCroskey"

"Peter Graves — Captain Oveur"

"Julie Hagerty — Elaine"

"Robert Hays — Ted Striker"

"Leslie Nielsen — Dr. Rumack"

"Lorna Patterson — Randy"

"Robert Stack — Kramer"

"Stephen Stucker — Johnny"

"Barbara Billingsley - Jive Lady"

"[after his parents have left, thinking he is ill] They bought it. Incredible! One of the worst performances of my career and they never doubted it for a second. How could I possibly be expected to handle school on a day like this? This is my ninth sick day this semester. It's getting pretty tough coming up with new illnesses. If I go for ten, I'm probably gonna have to barf up a lung, so I'd better make this one count. The key to faking out the parents is the clammy hands. It's a good non-specific symptom. I'm a big believer in it. A lot of people will tell you that a good phony fever is a dead lock, but, uh, you get a nervous mother, you could wind up in a doctor's office. That's worse than school. You fake a stomach cramp, and when you're bent over, moaning and wailing, you lick your palms. It's a little childish and stupid, but then, so is high school."

"Life moves pretty fast. If you don't stop and look around once in a while, you could miss it. I do have a test today, that wasn't bullshit. It's on European socialism. I mean really, what's the point. I'm not European. I don't plan on being European, so who gives a crap if they're socialists. They could be fascist anarchists and it still doesn't change the fact that I don't own a car."

"It's not that I condone fascism or any 'ism' for that matter. Ism's, in my opinion, are not good. A person should not believe in an 'ism,' he should believe in himself. I quote John Lennon: 'I don't believe in Beatles. I just believe in me.' A good point there. After all, he was the walrus. I could be the walrus. I'd still have to bum rides off of people."

"If anybody needs a day off it's Cameron. He's got a lotta things to sort out before he graduates. He can't be wound up this tight and go to college. His roommate'll kill him. Pardon my French, but Cameron is so uptight, if you stuck a lump of coal up his ass, in 2 weeks, you'd have a diamond."

"Cameron has never been in love - at least, nobody's ever been in love with him. If things don't change for him, he's gonna marry the first girl he lays, and she's gonna treat him like shit, because she will have given him what he has built up in his mind as the end-all, be-all of human existence. She won't respect him, 'cause you can't respect somebody who kisses your ass. It just doesn't work."

"[after he barely gets back in bed, and his parents leave the room] Yep. I've said it before and I'll say it again. Life moves pretty fast. If you don't stop and look around once in a while, you could miss it."

"[last line; in post-credits scene] [to home audience; after emerging from his bedroom] You're still here? It's over. Go home. [walks back to his bedroom; shoos audience away] Go."

"[on the phone after her encounter with Rooney] Look, this is not a phony phone call. There is an intruder, male, Caucasian, possibly armed, certainly weird, in my kitchen. My name's Bueller. [pause] Look, it's real nice that you hope my brother's feeling better, but I'm in danger. Okay? I'm very cute, I'm very alone, and I'm very protective of my body. I do not want it violated or killed! All right?! I need help! [pause again] Speak any English?! [hangs up] DICK HEAD!"

"[discovers that Ferris has been faking being sick and sneaking out of the house by finding a mannequin in his bed] I KNEW IT!!!"

"One Man's Struggle to Take It Easy"

"Leisure Rules"

"Matthew Broderick - Ferris Bueller"

"Alan Ruck - Cameron Frye"

"Mia Sara - Sloane Peterson"

"Jeffrey Jones - Ed Rooney"

"Jennifer Grey - Jeanie Bueller"

"Cindy Pickett - Katie Bueller"

"Lyman Ward - Tom Bueller"

"Edie McClurg - Grace"

"Charlie Sheen - Boy in Police Station"

"Ben Stein - Economics Teacher"

"Del Close - English Teacher"

"Kristy Swanson - Simone Adamley"

"Edward LeBeau - Gym Teacher"

"Is it a game, or is it real?"

""Global Thermonuclear War." You may think it's one hell of a game. You couldn't be more right."

"This is the weekend they didn't play chess...but they should have."

"To David Lightman, "Global Thermonuclear War" will just be one hell of a game. To everybody else, it will be hell waiting to happen."

"Where the only winning move is NOT TO PLAY. We shall make world peace so you have a decision to make now."

"Matthew Broderick - David Lightman"

"Dabney Coleman - Dr. John McKittrick"

"John Wood - Dr. Stephen Falken / Voice of Joshua"

"Ally Sheedy - Jennifer Katherine Mack"

"Barry Corbin - General Jack Beringer"

"You better just start dealing with it, Hudson! Listen to me! Hudson, just deal with it, because we need you and I'm sick of your bullshit."

"You know, Burke, I don't know which species is worse. You don't see them fucking each other over for a goddamn percentage."

"[to the Alien Queen who is about to kill Newt] Get away from her, you BITCH!"

"Close your eyes, baby!"

"All right, sweethearts, what are you waiting for? Breakfast in bed? It's another glorious day in the Corps. A day in the Marine Corps is like a day on the farm: Every meal's a banquet. Every paycheck's a fortune! Every formation's a parade! I love the Corps!"

"I'm ready, man. Check it out! I am the ultimate badass! State of the badass art! You do not want to fuck with me. Check it out! Hey, Ripley, don't worry. Me and my squad of ultimate badasses will protect you! Check it out. Independently targeting particle-beam phalanx. WHAP! Fry half a city with this puppy. We got tactical smart missiles, phase plasma pulse rifles, RPGs. We got sonic, electronic ball-breakers! We got nukes, we got knives, sharp sticks..."

"Yo! Stop your grinnin', and drop your linen! Found 'em!"

"We're on the express elevator to hell, going down!"

"They're coming outta the walls! They're coming outta the goddamn walls! Let's book!"

"What do you mean "they cut the power"? How could they cut the power, man?! They're animals!"

"That's it, man. Game over, man. Game over! What the fuck are we gonna do now? What are we gonna do?"

"This time it's war."

"There are some places in the universe you don't go alone."

"[W]here "Alien" focused on the creature itself, "Aliens" centers on Ripley, whom a "deep-salvage" team finds floating in space after a 56-year "hypersleep." The anonymous Company, as represented by Carter Burke (Paul Reiser), is pretty steamed that Ripley destroyed the mother ship (with the alien in it). But when the radio silence of one of the Company's colonies points toward another alien outbreak, Burke enlists Ripley in a search mission. So she's thrown together with a company of Marines, including Vasquez (Jenette Goldstein), a burly, tough-talking woman machine-gunner; quiet Hicks (Michael Biehn) and noisy Hudson (Bill Paxton); a gravel-voiced, enigmatic android named Bishop (Lance Henriksen); Sgt. Apone (Al Matthews), a cigar-chomping top kick; and Lt. Gorman (William Hope), the group's callow and effete commanding officer. As a screenwriter, Cameron has an uncanny ear for the way these trench rats talk, their banter and swaggering bravado. He has the same instincts as George Lucas did in "Star Wars" -- make the future seem real, and lived in -- but he pushes it further. The surroundings are different, the weapons are fancier, but as the soldiers razz Lt. Gorman or ready themselves for battle, it might as well be Vietnam. The humor is a way to get us to like these characters, so that when they're thrown into danger it's not just a cheap thrill. And it's a way to draw you into the early going, without squandering any of the cliffhangers -- it allows Cameron to pace his movie along a perfectly accelerating curve, to pack the excitement into the last 45 minutes (which is almost all climaxes) without losing the audience at the beginning."

"At its heart, "Aliens" involves a myth deep in everyone's psychology, a war between a good mother and a wicked stepmother (the "Alien Queen"), and it ends with a tableau of the family triumphant, although this might be the weirdest family anyone's ever seen -- a gun-toting mom, a wild child and an android who's been sawed in half. But in that single image is the whole of Cameron's strategy -- to take what's familiar and permanent in ordinary life, and twist it, and twist it again. "Aliens," in other words, might be about a young girl who hates her stepmother and loves her mom -- it just wouldn't be nearly as much fun. Aliens, opening today at area theaters, is rated R, and contains violence and profanity."

"[W]ritten and directed by James Cameron, the Canadian boy from Chippawa, Ont., Aliens is smartly conceived and executed, and it does contain its share of thrills and scares. But it is very much a sequel, and the element of surprise, the most invaluable of commodities in enterprises such as this, has been lost."

"In “Aliens,” Biehn plays Weaver’s comrade-in-arms, and while she seems to be the only human on this Marine mission with any smarts, he at least shares her humanity. It’s a quality in short supply this time. There’s no attempt to let us know or care for this new crew as we did for the old one, for Harry Dean Stanton or Yaphet Kotto, John Hurt, Tom Skerritt or Veronica Cartwright. Losing them was a wrench. These awesomely muscled men and women are sewer-mouthed, burr-headed young grunts, there to wrestle the weaponry about and to be picked off."

"“If the sequel doesn’t equal Alien in cardiac-arrest value, it’s only because stainless-steel teeth, repulsiveness and slime have gone about as far as they could go (with John Carpenter’s 1982 The Thing), then gone on to be a laughing matter in Ghostbusters.”"

"The supporting actors here are inventions like the PulseGun or the SmartGun, which red-bandannaed Private Vasquez (Jenette Goldstein) stalks about with regally, like a flamenco dancer. (“Aliens” is going to be big on the survivalist circuit. It’s about this point that you remember Cameron also co-wrote “Rambo: First Blood Part II.”). The film may be as empty as it is fast and noisy, but Cameron still has a droll touch with his villains--watch who steps off “Aliens’ ” elevator in pursuit of Weaver--and with amazing mechanical inventions: Here it’s a forklift suit with monstrous lobster claws. (The film’s R rating is for its language and gruesome effects; it’s definitely not for impressionable children in spite of its 9-year-old heroine.)"

"Two of the actors, ex-comic Paul Reiser and Lance Henriksen (“The Right Stuff’s” Wally Schirra) as the ship’s exceptional android, are particularly fine, as is James Horner’s ruminative, intelligent music and Emma Porteous’ eye for costuming. But of all the film’s choices, the best was Weaver. She’s its white-hot core, given fine, irascible dialogue to come blazing out of that patrician mouth, and the chance to look, for a moment, like a space-dusted Sleeping Beauty in her hyper-sleep casket."

"Perhaps the best single word to describe James Cameron's Aliens is relentless. Tautly paced and expertly directed, this roller coaster ride of a motion picture offers a little bit of everything, all wrapped up in a tidy science fiction/action package. From the point when the opening half-hour of exposition ends and the real movie begins, Cameron barely gives viewers a chance to catch their breaths or ease their grips on their armrests as he plunges his characters from one dire situation to the next. This is one of those rare motion pictures that involves the audience so completely in the story that we're as worn out at the end as our on-screen counterparts."

"When it comes to the logical marriage of action, adventure, and science fiction, few films are as effective or accomplished as Aliens, and there's nothing on the market (either in theaters or on video store shelves) that will leave you as thoroughly exhausted."

"If you take the special edition of James Cameron’s astounding sequel to the classic Alien, it’s a film where you don’t see – save for a face-hugger right at the start – a single alien creature until almost an hour has been clocked up. One full hour. How incredible is that, particularly contextualized against modern-day flicks that never seem to introduce the cat to the bag, let alone let it out? But there’s more to it than that, because Cameron then spends that hour superbly well, managing to ratchet up the tension to quite unbearable levels in the build-up to the inevitable first encounter. In fact, there’s a convincing argument, and this writer would certainly subscribe to it, that the scariest thing in the whole of Aliens is a flashing dot on a screen, accompanied by a beeping noise."

"I was as much doing an homage to what Ridley [Scott] had created as I was making my own movie, but I did set out to do both in a balance. I didn’t think I could outdo Alien for pure shock. … So I had to come up with an end run around that would be equally entertaining for an audience but in a different way."

"I was sitting with the three producers, and we were in the office of the then-head of 20th Century Fox. And I said, ‘Guys, I got an idea for the title. And it goes like this.’ And I wrote, ‘Alien’ in large block letters. And I put an S on the end. I showed it to them. I said, ‘I want to call it Aliens, because we're not dealing with one. Now we're dealing with an army, and that's the big distinction. And it's very simple and very graphic.’ And I said, ‘But here's what it's going to translate to.’ And then I drew the two lines through it to make it a dollar sign. And that was my pitch. And apparently it worked! Because they went with the title. They never questioned it."

"Though it's perhaps the most iconic single prop in the entire Alien franchise, the power loader Ellen Ripley (Sigourney Weaver) uses to fend off the xenomorph queen in Aliens (1986) was a real pain to make. A new featurette, premiering today on The Creators Project, reveals that, while Rome wasn't built in a day, the very first model for this "far future forklift," actually was. "The practical effects guys in England, they just thought I was nuts," Cameron says in the clip, referring to the time he essentially locked his team in a room with a bunch of pipes and foam core. But by the end of the day they had a recognizable prototype of the first robot exoskeleton to hit the silver screen. When they tested out their experiment, Cameron says, "All the effects guys were starting to think, 'Oh my god this actually sort of works just enough that he's going to make us do this.' And I did, I made them do it.""

"Sigourney Weaver set the bar high when she reprised her role of Ellen Ripley in 1986 sci-fi classic Aliens. As a female lead who was unsentimental but not unfeeling, she gave us a hero that has since been copied but never equaled."

"Thirty-five years on, Weaver’s performance remains the high watermark for strong female leads in action movies. It’s a character description that may sound redundant and regressive in this day and age, but in 1986 Weaver embodied it to a degree that left many other great performances by great actors that came afterwards suffering by comparison."

"Parents need to know that the relentless, ravenous clawed monsters in Aliens, the sequel to Alien, are likely to give small kids (and others) nightmares. It's even more violent than the original. Besides the rerun of the grisly moment when embryonic aliens burst out of people (in reality and in dream scenes), we also see quick cuts of victims seared with acid, getting set on fire, and blowing themselves up with a grenade. Gunfire, bombs, and flamethrowers are directed at the aliens. Most disturbing of all -- or, at least, the most nakedly manipulative -- is the perpetual threat of ghastly violence/death/contamination directed at a frightened, screaming little girl. There's also a plethora of swearing and lots of adoring fondling of guns and high-powered weapons."

"Families can talk about the military metaphor in Aliens; it's said James Cameron had Vietnam on his mind when he depicted a group of gung-ho Marines charging into tunnels only to get shredded to pieces by hordes of an enemy that keeps on coming. What could the characters have done differently?"

"`Aliens,` said Cameron, resplendent on a recent June afternoon in a black, open-neck shirt crawling with virulently purple orchids, is the movie I would have died to see when I was 14."

"An action-thriller that women will cheer for."

"A sequel to director Ridley Scott's "Alien" was inevitable, of course. This traditional horror movie set in outer space simply made too darn much money for the studio to simply let it stand alone. Surprisingly, when director James Cameron took over, he was determined to make a different movie rather than merely rehash the first. Thus, "Aliens" was adventurous, taking the story in new and exciting directions as an action-adventure yarn instead of another horror movie. Indeed, several critics feel "Aliens" is better than "Alien.""

"The ads for "Aliens" claim that this movie will frighten you as few movies have, and, for once, the ads don't lie. The movie is so intense that it creates a problem for me as a reviewer: Do I praise its craftsmanship, or do I tell you it left me feeling wrung out and unhappy? It has been a week since I saw it, so the emotions have faded a little, leaving with me an appreciation of the movie's technical qualities. But when I walked out of the theater, there were knots in my stomach from the film's roller-coaster ride of violence. This is not the kind of movie where it means anything to say you "enjoyed" it."

"The director, James Cameron, has been assigned to make an intense and horrifying thriller, and he has delivered it. Weaver comes through with a very strong, sympathetic performance. The supporting players are sharply drawn. The visual effects are professional. I’m giving the movie a high rating for its skill and professionalism and because it does the job it says it will do. I am also advising you not to eat before you go to see it.”"

"It's here that my nerves started to fail. "Aliens" is absolutely, painfully and unremittingly intense for at least its last hour. Weaver goes into battle to save her colleagues, herself and the little girl, and the aliens drop from the ceiling, pop up out of the floor and crawl out of the ventilation shafts. (In one of the movie's less plausible moments, one alien even seems to know how to work the elevator buttons.) I have never seen a movie that maintains such a pitch of intensity for so long; it's like being on some kind of hair-raising carnival ride that never stops. I don't know how else to describe this: The movie made me feel bad. It filled me with feelings of unease and disquiet and anxiety. I walked outside and I didn't want to talk to anyone. I was drained. I'm not sure "Aliens" is what we mean by entertainment. Yet I have to be accurate about this movie: It is a superb example of filmmaking craft."

"Skip ... if you’re not a fan of war movies. Even though “Aliens” belongs to a number of genres, it is basically just a scarier, louder, gorier version of a classic combat flick. Add in the profanity, the high body count and the endless waves of monsters coming out of the darkness, and you’ve got something that’s a far cry from the typical sci-fi or horror film."

"James Horner's score contains elements of Goldsmithian militaristic marches and borrowings from his Star Trek III score, as well as a touch of "The Gayne Ballet," as used in 2001, making it seem more of a rehash than an original from this talented composer. Stan Winston has done an excellent job of making H.R. Giger's original Alien design quicker moving and more mobile, adding a hitherto unseen form of the Alien for the climax. Aliens ends up as a wild and woolly roller-coaster ride of a movie which should attract anxious crowds of thrill fans as it cuts a swath through theaters from here to Alpha Centauri."

"“Aliens is about nothing at all beyond squeezing yet another buck from what seven years ago was an original, arresting — and profitable — science-fiction-horror [film]. Alien was so good because it said all that needed to be said on its subject. [S]equels are superfluous, dictated by pure greed as opposed to any driving artistic compulsion.”"

"Cruder than the original, Aliens is a distinctly greedy mega-production. For sure, there’s only so many times you can tell the same story and rewrite the same set pieces: Because the film’s human melodramas play second fiddle to the kick-ass action sequences, it’s obvious that 20th Century Fox wanted to bank on the success of the original film. Sometime after its release, Alien began to develop a following among feminists, confirmed when one of my film school professors would frequently reference the set design’s phallic and vaginal imagery. But it’s Ripley’s battle to be heard by the film’s alpha males and mother ship that truly resonates today. This mostly subtextual war of the sexes is on whorish display throughout Aliens: the mother alien is referred to as a “badass” by Bill Paxton’s insufferable Hudson; Ripley’s cigar-chomping sergeant doesn’t think she can do anything; and the tough, eager-to-please Latina lesbian who calls Ripley “Snow White” is teased for looking like a man. After floating in space for 57 years, Ripley is picked up by a salvage ship and is treated like a rape victim by a money-minded conglomerate. After her feminine insight gets the better of everyone, she helps spearhead a mission back to the alien planet after the ship loses contact with its colonists. Plot holes abound, but more tragic is the sorry lot of archetypical characters a fierce Ripley has to rub shoulders with; you can tell exactly in what order everyone will die depending on how nondescript, polite, hysterical, or evil the characterization. Aliens is a “guy movie” through and through, right down to the “get away from her, you bitch” female-on-female violence (Cameron, David Giler, and Walter Hill must have been watching Dynasty while writing their screenplay). The director’s cut of the film hauntingly amplifies Ripley’s disconnect from her dead daughter and her relationship to the young Newt (essentially a substitute for her creepy pet cat). Otherwise, the film’s human interactions are nowhere near as interesting as Cameron’s deft direction of action and use of non-alien space (the “Remote Sentry Weapons” killing spree may be Cameron’s finest moment)."

"The special-effects specialists are featured prominently in the credits that precede Aliens, and so they should be. Under the direction of James Cameron, they have put together a flaming, flashing, crashing, crackling blow-’em up show that keeps you popping from your seat despite your better instincts and the basically conventional scare tactics.”"

"Although the aliens still have that nasty way of bursting through people's skin, mostly we meet them full-grown, with scales and coils and, my, what big teeth. Now they look like dragons, now like sea monsters or pterodactyls or a combination plate of lizard, bat, eel and spider. The young aliens resemble agitated lobsters. I thought I saw an elephant trunk on the Big Mamma alien, who is too big to be blown away even by Miss Weaver's big gun, but it could have been something else. Anyhow, it wasn't anything you'd want clutching at your foot while you were trying to hang on to your spaceship and not be gulped into the void. No monster movie with pretensions can do without a scene that stirs a twinge of compassion for the monsters. It might be just my wishful imagination, but I thought I detected an expression of anguish on Big Mamma, a prodigious breeder, as dozens of her extra-large eggs were getting badly cracked. But she could merely have been opening her glacierlike jaws to devour that little girl."

"Talk about relentless. There probably has never been a cliffhanger as outrageous or as ingeniously sustained as Aliens, writer-director James Cameron’s absolutely smashing sequel to Alien, Ridley Scott’s 1979 science-fiction/horror classic…. Aliens proves that a bigger budget and more elaborate visual effects haven’t spoiled Cameron, and that he can still generate that involvement. In many ways, this is one sequel that improves on the original.”"

"“[O]ne of the things that makes Aliens work is the performance of Sigourney Weaver, reprising her role from the first film. She is strong and serious and very human. And she puts to shame the spate of one-dimensional macho heroes we’ve had lately who all look like plastic imitations of each other.”"

"Aliens is often regarded as a blueprint for how to execute an effective sequel. And rightly so. It didn’t try to replicate the first film. Instead, it took its essence and Scrapheap Challenged a rip-roaring war movie out of it. Ripley, the lone survivor of the mining ship, Nostromo – the sepulchral setting for the first film’s slasher-horror minimalism – joins a ragtag band of marines to take the fight back to the aliens. And what a bunch they are: Michael Biehn’s stoic Hicks, Bill Paxton’s wild-eyed gobshite Hudson, Jenette Goldstein’s badass gunslinger Vasquez. Frost, Spunkmeyer, Gorman, Apone, Drake – it’s amazing how many memorable grunts Cameron managed to forge with so little expository dialogue. That they used enormous “smart guns” mounted to their hips and sped around in a Batmobile-esque armored personnel carrier only served to sprinkle more geek catnip on my impressionable 12-year-old brain."

"Rewatching it over the years I’ve only come to appreciate Aliens more. It remains a masterclass in building tension: we don’t actually see an alien until the hour mark, and when we finally do it’s in a bewildering frenzy of bodycam panic. The scene with Ripley and Newt (the girl Ripley finds living feral on a base long since overrun by aliens) trapped in a laboratory with a scuttling face-hugger is still a bum-clenching ordeal. Paul Reiser’s smarmy, flop-sweat-slick company man, Burke, has become ever more punchable with every passing year. And Ripley overcoming her prejudices to accept the android Bishop as a friend is more touching now than it ever was. Yes, Bishop had to be literally ripped in half in order for her to do this, but the point stands. It could be argued that Cameron hasn’t made a truly great film since Terminator 2: Judgement Day (1991). That was the other adult-centric movie I remember featuring heavily in my childhood. Both Cameron films, both sequels to grimier, more disturbing originals that my mum would rather I didn’t watch, both held together by remarkable performances by their leading women. I’ve come to think that my mum was engaged in a not-so-subtle campaign to imbue me with an appreciation of strong female role models."

"Brandishing sophisticated weaponry and rescuing hostages in a style that leads Pauline Kael to label her “no more than a smart Rambo” (79), Sigourney Weaver’s Ripley champions a type of a feminist role in Alien (1979) (dir. Ridley Scott) and its film child Aliens (1986) (dir. James Cameron). Lawrence O’Toole croons that “Weaver brings wit, warmth, compassion, sweat and strength to her heroic role. Feminism has barely had it so good”, while David Ansen calls her “human macho” a “strong, unsentimental heroine” (64), and Rebecca Bell-Metereau celebrates Ripley as a “prototype for a new female lead…because she is not stunning, stunned, or simpering” (210) Single-handedly defeating alien creatures who threaten to destroy the human race, Ripley is intelligent, resourceful, independent, able to take command, and, in the greatest divergence from Hollywood’s typical depiction of “feminists,” not linked romantically to a man. “The closest thing that [Aliens] comes to romance” is Corporal Hicks showing Ripley how to operate an M41A pulse rifle (Kael 79). Ripley thus seems to epitomize, both for the films and their many viewers, the type of a new woman, one who not only holds her own in a man’s world, but is the only person to survive successfully in it."

"FROM the halls of Montezuma to the spores of outer space, they will fight our country's battles anytime, anyplace . . . The Marines, sweating and swearing and valiant as lions, engage "Aliens" in this hell-bent-for-leathernecks sequel to the 1979 thriller by Ridley Scott. "Alien" was a classic of gothic horror, but "Aliens" is a blockbuster of epic combat, a high-powered, spine-tingling, interplanetary "Pork Chop Hill." Here, a few good men -- and in the year 2036, a few good women -- battle the blood-thirsty beings of the planet Archeron."

"Raunchy one-liners relieve the fear of the unknown that menaces this mean, terrific team. Only the sequel isn't as shocking because we know a little about the monster now. "Aliens" can't top the original caesarean scene -- the monster tearing through the abdomen of its human host. But this time there are more parasites. If "Alien" was a cancer metaphor, "Aliens" is more like AIDS. There may be no defense, though there are plenty of skirmishes. Then there's the red-blooded feminism. Basically it's "Rambo" for her, with Weaver's demeanor steelier than Stallone's. But she is a woman. And that means she's got to balance a career and mothering when she takes a spunky nine-year-old space orphan under her wing."

"As in the original, Cameron's space looks lived in. The computer banks are dusty and the troop-ers wear fatigues instead of silver-zippered suits. The monsters, in their many forms, are recreated with gooey veracity, plus there's a new queen bee ovipositing spores in the aliens' nasty nursery. Boy, do those things make a lot of slime. It gets slippery for Ripley in a girls-only show-down with the alieness, despite the backing of formidable comrades: Michael ("Terminator") Biehn as a dashing corporal and Lance Henriksen as a valiant synthetic ("I prefer the term artificial person myself"). The vigorous and well-chosen cast also includes comedian Paul Reiser in his first serious role, as a corporate villain; and Al Matthews as the bull-necked sarge who moves 'em out to the rat-tat-tat-tat of the drums. Except for the droid, they're characters you'd find in any foxhole from "Sergeant York" to "The Green Berets." The enemy is as merciless as the Nazis, as elusive as the North Vietnamese. All of it is set against the pristine starscape of deep space."

"Director James Cameron makes all the right moves. [H]e brings to Aliens a solid gift for action, pacing and excitement…. Though Aliens is unable to eschew some obvious sci-fi conventions and those of other genres as well, it brings a fresh and lively spirit to this tired cinematic clime. Scene to scene, encounter to encounter, its tension builds unrelentingly. So, fasten your seat belts. It’s a blast."

"You’re entering a tight corridor filled with menacing shadows. Is that breathing you hear? Well, don’t run. Clanging metal walkways and staircases always give your position away. You might be playing a first- or third-person shooter - or watching the film “Aliens.” Every science fiction/horror game of the last 20 years - from the granddaddy of them all, Id’s “Doom,” to recent titles such as Electronic Arts’ “Dead Space” series - owes a debt to the first two films in the “Alien” franchise, Ridley Scott’s moody 1979 original and James Cameron’s action-packed 1986 sequel, “Aliens.”"

"Cameron was confident enough to not only dream up a sequel that continued Ripley’s story but also shift it into a different genre. Where Alien was pure horror, Aliens was first and foremost an action thriller; the movie’s tagline, “This time it’s war” was a clear indication that Cameron’s movie was anything but a straight retread."

"In the wake of Aliens, the pop culture impact of the colonial marines – and the look of film in general – was immediate. It’s worth noting that Paul Verhoeven’s adaptation of Starship Troopers, with its military units wearing light armour rather than powerful exoskeletons, was actually closer to Aliens than Heinlein’s book. Aliens impact on videogame design, meanwhile, can be seen everywhere – from the retro alien blasting future soldiers in Contra (1987) to the frat-boy space marines in Gears Of War and a thousand identikit sci-fi shooters. In the absence of more colonial marines adventures on the big screen, videogame designers filled the void."

"It starts with Ripley (Sigourney Weaver) emerging like Sleeping Beauty from more than half a century of interplanetary slumber, which she doubtless needed after her prior ordeal. The planet where it all happened, she learns, has since been colonized by humans, who have broken off contact with Earth—but note the timeline: they did so only after she awoke. Is that a mere plot contrivance, or could it be that the monsters have been waiting for Ripley, to summon her to the fray? She certainly seems more determined and queenly this time around, with a foe to match, plus an android, played by Lance Henriksen, and the result is a formidable acceleration of all the fears that lurked in the first film: the frigidity of Scott’s detached and spooky manner is replaced by the relentlessness of a racing heart. Action thrillers assail but rarely test us; this is the tautest, most provoking, and altogether most draining example ever made."

"It’s a fun film that also demanded you to take it seriously. I think some people missed all that and just wanted to indulge in the ‘bug hunt’ war porn of it all. But beneath its rollercoaster surface, Aliens is a pretty sophisticated genre classic.”"

"Aliens could have used a lot more of what made the first ill-fated voyage such a harrowing experience: creeping horror that is so cold-blooded and unspeakable you scream but nothing comes out.”"

"There ought to be a warning attached to the video release of "Aliens," the sequel to the 1979 sci-fi thriller "Alien." It should read: "Warning. Not To Be Viewed Alone, Nor After 11 p.m. Otherwise, Tranquil Sleep Cannot Be Guaranteed." Because that's how I watched this remarkable thriller -- late at night and alone. I found it, quite simply, terrifying -- one of the scariest movies since "The Exorcist." And one of the best of this type. Translated to video, "Aliens" is not quite as terrifying as it was in theaters, but the suspense, drama and horror are there nonetheless. Sigourney Weaver, that willowy, captivating young star, returns as the sole survivor of the earlier space mission. She's been asleep for 57 years when she's returned to Earth. Why the technology hasn't changed too much in half a century is about the only unanswered question in this otherwise near-perfect thriller."

"The rest of "Aliens" is basically a series of search-and-destroy missions in the bowels of an abandoned structure on a far-off planet. But the way the creatures are stalked, and the slow, me-thodical steps the marines take before suddenly confronting them, make for superb drama. Some-times, even though you know the nature of the enemy, not knowing when or where it will strike is more terrifying. And so it is with this wonderfully filmed thriller. Whereas the original "Alien" was a bit too laid back for my tastes, with its characters spending too much time sipping coffee and waiting to be devoured, skewered and decimated, "Aliens" has no such flaws. It is a continual series of furious encounters with the aliens, who are multiplying rapidly."

"Watching a movie like "Aliens" on home video cannot match the terror from a big screen, at least for me. The security of one's own living room is reassuring, and so is that omnipotent off button on the VCR. But if you make the commitment to watch "Aliens" -- and I think you should -- you will see something quite remarkable. Not only is terror sustained for more than two hours, but also the last 20 minutes -- Weaver's final confrontation with the queen bee of the aliens -- has to to be one of the scariest horror sequences ever filmed."

"[L]ittle touches make Aliens much more fun than the run of the science-fiction genre. And its creatures are much more ingeniously mean than the gremlins of two summers ago."

"The original Alien was a haunted-house movie, brilliantly transposed to outer space. Claustrophobia was its primary tool of terror, and it featured a gross out unparalleled in movie history. Aliens writer James Cameron had the good sense to try to make a different kind of movie. Aliens resembles less its predecessor than The Terminator."

"Director James Cameron’s continuation of Ridley Scott’s Alien is long on brawn and short on brains. Too many Marines, too much noise, and too many acres of heavy hardware clutter up the scenery."

"[Aliens is] a sequel that exceeds its predecessor in the reach of its appeal while giving Weaver new emotional dimensions to explore."

"Count me out of the fan club for this one. To me, Aliens is one extremely violent, protracted attack on the senses, as surviving space explorer Sigourney Weaver again confronts the spiny, slithering creatures who killed her buddies in the original film, Alien. Some people have praised the technical excellence of Aliens. Well, the Eiffel Tower is technically impressive, but I wouldn`t want to watch it fall apart on people for two hours. R."

"Long after the thrills and chills wear off, I would argue that Aliens will be remembered not for its military saltiness, but for the role that Weaver takes to full-bodied heroics."

"Fifty-seven years on, Ripley is discovered - Sleeping Beauty in space. Plagued by nightmares and surrounded by sceptics, she's forced to return to the resting place of the original alien's mother ship with a bunch of seen-it-all-before Marines. Confidently directed by James Cameron (heretofore known only for 'The Terminator' and 'Piranha II'), this sequel dares to build slowly, allowing Weaver to develop a multi-dimensional character even as it ups the ante by fetishising the Marines' hi-tech hardware and spawning legions of aliens (the suspense involves guessing which group will be cannon fodder). There is always an interesting tension in Cameron's work between masculine and feminine qualities. When it finally hits the fan here, we're in for the mother of all battles."

"In a summer of disappointing sequels, it’s a pleasure to announce that Aliens is every bit as good as the original. That said, it’s also quite different, which is probably why it succeeds where other sequels have failed."

"Monday, July 18, marks the 30th anniversary of the debut of Aliens, so EW asked Weaver, director James Cameron, and producer Gale Anne Hurd to reminisce about that final knock-down drag-out. Cameron: I did the initial drawings. I presented them to Stan Winston, and then the next thing was, all right, now how are we going to do this damn thing? Because you got to remember, there was no CGI back then. So, you know, we’re talking about big puppets, miniature puppets, and maybe some guys inside it, and I said, well, I think you can put guys inside this thing. I think you can put two people inside it. He thought I was nuts. So we did a test where we built a frame that could hold two people. Hurd: You’ve got to remember the state of computers back then also, this was not a time of microcircuitry that’s as advanced as it is today. There were robots in manufacturing lines, and we used some robotics in the film, but it was first generation. If it could be choreographed with people, it’s much easier to tell someone what you want to do and how to change something in a nuanced way. And it’s less likely to break!"

"Weaver: Looking back, I’m always astonished that they trusted me to flame the dummies and shoot blanks into the stunt guys and bazookas into some of the other targets. You know, we just went for it. And luckily I didn’t kill anyone."

"CORNISH: OK, remind us the difference between 1979's "Alien" and what came seven years later in "Aliens" with an s. Like, fundamentally, what's the difference in plot?"

"What returns from Alien: creepy egg chamber, spidery face-clinging larval parasite, chest-bursting imago, search missions in dark and wet places, a race against a nuclear self-destruct device, android malfunctioning and going literally to pieces, corporate conspiracy to obtain an alien at the cost of innumerable human lives, the airlock as weapon of choice, and the nasty suggestion that it isn’t all over (embodied there in a cat, here in a little girl, both apparently red herrings). What’s new in Aliens: Cameron replaces the timeless lethargy of Ridley Scott’s space and the sweaty, stultifying boredom of life on an intergalactic freighter with frenetic pace. Aliens grab you immediately and never lets go; it seems much shorter than its 2:17 running time (and even the 2:34 restored/enhanced edition released in 1999 streaks by with white-knuckle kinetics)."

"No futuristic plastic fantastic technology. Metal takes over, and dominates the look and sound of the film. Sigourney Weaver’s wonderful, resourceful Ripley doesn’t just continue the tough-woman role but transforms and refines it until she out-Rambos Rambo, succeeding where the military cannot. And of course there are the Marines—the “mechanized infantry” of Robert Heinlein’s Starship Troopers, which Cameron boldly adopted a decade before Paul Verhoeven’s film and dropped into Aliens about forty minutes in. We have references to a “bug hunt,” getting the shakes before a drop, female pilots, cameras mounted on the Marines so leaders behind the lines can see what the troopers on the point are seeing. Cameron clearly loved Heinlein’s novel and found a way to film it by dovetailing it neatly into his sequel to someone else’s film of someone else’s vision."

"What’s not to like? There are a few things, including four of my seven least favorite movie clichés: sitting bolt upright from a dream, yelling “no” at something that’s already happened, outrunning an explosion, and having a computer voice remind us that time is running out. Newt, the little girl who is the sole survivor of an ill-fated farming colony on LV-426, is witty, wise, and brave beyond her years, but when the chips are down she has nothing to contribute beyond screaming repeatedly. The marines talk in a 1970s idiom (“check it out,” “badass,” “get it on”) even though the movie is set in a future by which, surely, those vacuous expressions—which sounded false even in 1986—will be unheard of. Their weapons are so impractically huge as to be more comical than impressive. Indeed, most of the film’s machinery seems designed with its human interface only half thought-out, creating the impression of future man as a kind of industrial junkyard hybrid. And of course this underscores the mirroring effect of the android: a machine that is almost human interacting easily with humans who are almost mechanical."

"But the film’s many fine touches more than balance out the occasional clichés and annoyances. We cut from an alien larval parasite’s spidery legs gripping the head of a space farmer to a close shot of Ripley’s spidery fingers manipulating a cigarette. Cameron enjoys giving us Kubrick references: reverse tracking, especially long corridors; a kid riding a three-wheeler; human talks in alien environments; sidewise tracking cameras discover characters and events around corners; scenes are introduced and enhanced by drums; we’re won over by an android as logical and as humanly fallible and wistful as HAL. There’s even a tough-talking, verbally abusive sergeant whose attitudes and phraseology recall Gunnery Sergeant Hartman (but wait, that can’t be a Kubrick reference since Full Metal Jacket didn’t come out until after Aliens…) Aliens also shares Kubrick’s atmosphere of a desensitized future; but here, feelings aren’t deadened, but heightened. It’s more Clockwork Orange than 2001 everyone is edgy, resentful, suspicious, abusive; their only humor is insult-humor. These are the ‘80s, the era of The Road Warrior and dozens of other junkyard futurism films in which human behavior has been stripped to the essentials and human emotions reduced to raw-edged anger or screaming terror."

"Despite the relentlessly bleak and pessimistic view of future humankind, Aliens sings an ultimately joyful song, and I will always love it for the bold self-assurance with which Cameron does Heinlein and out-does Scott."

"Before he started developing Aliens, Cameron had a different kind of extraterrestrial-themed project in mind, tentatively titled E.T. That name, of course, changed once he learned of Steven Spielberg’s film — Cameron retitled it Mother after its maternal themes. The script languished until he started developing the Alien sequel. “I cribbed some chunks from [Mother]. But it seemed to fit very well,” Cameron told us. “In the same way we needed to evolve and ratchet up Sigourney’s character, we needed to take the nemesis — the idea of the alien — and take it to another level. It was kind of staring us in the face: There was this ship filled with all these eggs. … Who laid the eggs? Continued Cameron: “Now, a scene that was removed from Ridley’s film showed there was a closure of the life cycle where the humans were cocooned and became eggs. We just threw that out. In my mind, I didn’t go against canon because that scene hadn’t made it into the release cut. So, I thought, ‘You got a mother someplace.’ Now you’ve got two mothers. Obviously, I never went anywhere with [Mother] — I just stuck it all into Alien 2.”"

"”Sigourney set the bar. I was in awe of her before I ever met her. I had her picture up on the wall while I was writing the script,” said Cameron, who directed her to an Academy Award nomination for the performance. “No actress had gotten nominated for Best Actress for a genre picture until then, not for science fiction or horror.” “I was just starting Gorillas in the Mist, which was an intimidating project because I had to play a real person and I had never done that,” Weaver recalled. “So it [the Oscar nomination] was a real shot in the arm. I didn’t realize it was groundbreaking until Jim told me. He still thinks I should have won.”"

"“For better or for worse,” said Hurd, who currently produces The Walking Dead. “All of a sudden, sequels, which were not common then, became considered a little more viable.” “A lot more viable,” Cameron interjected. “At the time we made Aliens, the rule was that a sequel would cost twice as much and make half as much. So, it never looked like a particularly good business model.” Hurd said Aliens established a rulebook for making a quality sequel: “As opposed to formulaic filmmaking, go to an auteur and have the auteur write the script and reinvent the story while staying true to canon.” “It’s about answering a question they didn’t know to ask, but when they see it, it seems obvious,” said Cameron."

"In its first five days, “Aliens” took in a healthy $13.4 million at 1,437 theaters. Seven years after Ridley Scott’s space- noir classic “Alien” first arrived, “Aliens” looks like the runaway hit of the summer and may even surpass “Top Gun” when all the counting is done. But “Aliens” almost didn’t make it to the screen. In an era when it seems as if half the current releases are sequels feeding off yesterday’s fare, “Aliens” almost crashed and burned. At one point, 20th Century Fox, the studio releasing the film, nearly sold the rights to the sequel to the producers of “Rambo.”"

"Today, the lines for “Aliens” snake around the block even for weekday mid-afternoon screenings. The line to take credit for making “Aliens” is only slightly shorter. If movie-making is a collaborative art, the story behind the making of “Aliens” offers classic evidence that the number of contributors increases exponentially with the success of a film."

"Fall, 1983: The 42-page treatment, written in three days, was submitted to Fox where, because of lack of support for the idea, the project went into its own form of hyper-sleep. Said Cameron: “An executive told me he didn’t like the treatment because it was wall-to-wall horror and it needed more character development.” At one point a deal was almost closed to sell the rights to the sequel to producers Mario Kassar and Andrew Vanja (“Rambo”) but the lawyers couldn’t close the deal. Prospects for a sequel looked dim. July, 1984: Independent producer Larry Gordon was hired to replace former studio production head Joe Wizan. Finding few projects in the production pipeline, he looked for possible sequels and came across the “Aliens” file. “I couldn’t believe it hadn’t already been done,” Gordon said. “In this business there are those decisions you agonize and lose sleep over, but this was so obvious. It was a no-brainer.”"

"When Fox insisted that it would make “Aliens” with or without Weaver, Cameron and Hurd quit again, this time taking off for a honeymoon in Hawaii. Said Hurd: “We assumed it was a dead issue, and when we left for Hawaii we thought the movie was off.” But when they returned, the movie was on--with Weaver as the star. According to those close to the negotiations, she was paid close to $1 million in compensation plus a percentage of the profits, the highest salary she has earned to date in her career."

"September, 1985: “Aliens” finally started shooting on a London sound stage. After all the debate and questions about the budget, Hurd and Cameron brought in their movie on schedule and on budget. The studio loved the dailies and the buzz began to leak out: “Aliens” just might be the sleeper hit of the summer. But there was one more bitter struggle preceding the film’s opening. Fox wanted a movie of two hours or less but Cameron’s print came in at a lengthy 2 hours, 17 minutes. Nowadays, studios rarely release movies longer than 2 hours, 5 minutes, because the length cuts the number of daily screenings from five to four, substantially reducing the box-office take. For Fox to have the extra showing, Cameron would have had to cut 12 minutes. Late April, 1986: As Cameron and Hurd were working on their final “mix” (joining sound and picture together), Rudin flew to London to see their cut. Said Cameron: “We were standing on this London sidewalk and Rudin asked us if there was anything that could be cut. But we felt that if we had to take out 12 more minutes, the movie wouldn’t make sense.” Rudin acquiesced."

"Aliens is the perfect sequel. The Empire Strikes Back, while certainly a better film than Star Wars, was more a polished segment in a longer story than a stand-alone adventure. But Aliens is the model for every potential sequel-maker: it connects irrefutably with the events of the original (even to the point of starting exactly where the drama left off, albeit 57 years later) and expands on all the ideas and themes while simultaneously differentiating itself. The same, yet entirely different. Perfect. It also stands as testament to the unwavering vision and icy nerve of James Cameron (here directing only his third movie). Utilizing the bombed-out skeleton of Battersea Power Station to create the vast industrio-grim colony/hive setting for events, he was faced with a veteran British crew who had worked on Alien and worshipped the ground Ridley Scott walked on. What could this Canadian punk kid know? Well, for starters that in this case more is, indeed, more. Not just a single, ruthless, unbeatable killing machine but an army of them. On home turf."

"What also counts here is execution. Cameron accepted Scott's (and, of course, H. R. Giger's) design ethic — gloop, scaly bits, loadsa teeth and long, dark, dingy, dripping corridors — but reinterpreted them as a battleground rather than a haunted house. The point he grasped straight away is that you can't win against this foe or the stigma, the sheer terror that this endomorph engenders would be lost. You can only escape. He replaced Scott's "behind-you" tension with a muscular fury, unrelenting, sweaty-palmed, pant-filling movie intensity. Nothing before or since has locked the viewer in with such an all-consuming sense of peril (audiences and critics actually complained of physical discomfort even illness upon exiting the auditorium)."

"Thematically Aliens also expounds the set-up further. Central is a continuation of Scott and Dan O'Bannon's (the original screenwriter) bogeyman hypothesis — what if a lifeform was so attuned to survival it became the perfect killing machine and as such garnered a degree of Darwinisitic respect, even form its prey? Ash in Alien, lunatic android though he was, praised the monster for its "purity", even Ripley, confronted by the duplicity of company man Burke (Paul Reiser), has to admit that "You don't see them fucking each other over for a goddamn percent-age!" Then it really gets going: Alien as giant phallus (and now there's a whole army of them) versus feminist heroine. The feminist subtext is hardly "sub" at all, Ripley is one of the strongest female characters in movie history. Closer to Cameron's heart, and a theme that recurs throughout his work, is the preservation of the nuclear family. With Newt rescued and Ripley taking on the role of surrogate mother we only need add Hick's gentlemanly (but by no means dominant) father to complete our model of perfect family unit (the other survivor, the android Bishop, well, he's either a kindly uncle or the pet dog or something). This whole notion is finally boiled down to a remarkable battle of maternal instincts — Ripley defending her child Newt; the queen Alien defending (or, at least, avenging) her children — summed up memorably in Ripley's battle call: "Get away from her, you bitch!" The biology of the species has been developed to the point where empathy if not sympathy is acceptable. And if you want to keep this up there is the 'Nam in space metaphor: unseen "gooks" mounting stealth attacks and the retreating Yanks totally undone by a tactic and mindset they cannot comprehend (a metaphor for US foreign policy?). Yet none of such academic noodling is ever at the expense of the thrills. Cameron understood fundamentally the basis here was a gut reaction. Aliens construction of action scenes, its build-up of tension and its final execution of combat is a marvel to behold (the film literally provokes a physical reaction). These are characters we care about, headed up by a resourceful heroine who is pitted against a formidable enemy in a thoroughly believable environment. Pure movie."

"Sigourney Weaver - Ellen Ripley"

"Carrie Henn - Rebecca 'Newt' Jorden"

"Michael Biehn - Corporal Dwayne Hicks"

"Lance Henriksen - Bishop"

"Paul Reiser - Burke"

"Bill Paxton - Private Hudson"

"William Hope - Lieutenant Gorman"

"Jenette Goldstein - Private Vasquez"

"Al Matthews - Sergeant Apone"

"Mark Rolston - Private Drake"

"Ricco Ross - Private Frost"

"Colette Hiller - Private Ferro"

"Daniel Kash - Private Spunkmeyer"

"Cynthia Dale Scott - Corporal Dietrich"

"Tip Tipping - Private Crowe"

"Trevor Steedman - Private Wierzbowski"

"I'm Deckard. Blade Runner. B Two sixty-three fifty-four. I'm filed and monitored."

"I was quit when I came in here. I'm twice as quit now."

"Replicants are like any other machine. They're either a benefit or a hazard. If they're a benefit, it's not my problem."

"[Revealing to Rachael that she is a replicant] You ever tell anyone that? Your mother, Tyrell? They're implants. Those aren't your memories, they're somebody else's. They're Tyrell's niece's. Okay, bad joke, I'm sorry... No, really, I made a bad joke. Go home, you're not a Replicant... (sigh) you wanna drink? I'll get you a drink."

"I've had people walk out on me before, but not when I was being so charming."

"They don't advertise for killers in the newspaper. That was my profession. Ex-cop. Ex-blade runner. Ex-killer."

"Sushi. That's what my ex-wife used to call me. "Cold fish.""

"The charmer's name was Gaff, I'd seen him around. Bryant must have upped him to the Blade Runner unit. That gibberish he talked was city speak, gutter talk. A mishmash of Japanese, Spanish, German, what have you. I didn't really need a translator, I knew the lingo, every good cop did. But I wasn't going to make it easier for him."

""Skin jobs". That's what Bryant called Replicants. In history books he's the kind of cop who used to call black men "niggers"."

"I'd quit because I'd had a belly full of killing. But then I'd rather be a killer than a victim, and that's exactly what Bryant's threat about "little people" meant. So I hooked in once more thinking if I couldn't take it I'd split later. I didn't have to worry about Gaff. He was brown-nosing for a promotion, so he didn't want me around anyway."

"I didn't know whether Leon gave Holden a legit address. But it was the only lead I had, so I checked it out."

"Whatever was in the bathtub was not human. Replicants don't have scales."

"And family photos? Replicants didn't have families either."

"Tyrell really did a job on Rachael. Right down to a snapshot of a mother she never had... a daughter she never was. Replicants weren't supposed to have feelings... neither were blade runners. What the hell was happening to me?"

"Leon's pictures had to be as phony as Rachael's. I didn't know why a Replicant would collect photos. Maybe they were like Rachael... they needed memories."

"The report would be "routine retirement of a Replicant", which didn't make me feel any better about shooting a woman in the back. There it was again... feeling in myself... for her... for Rachael."

"I don't know why he saved my life. Maybe in those last moments he loved life more than he ever had before. Not just his life... anybody's life... my life. All he'd wanted was the same answers the rest of us want. Where do I come from? Where am I going? How long have I got? All I could do is sit there and watch him die."

"Gaff had been there, and let her live. Four years, he figured. He was wrong. Tyrell had told me Rachael was special: no termination date. I didn't know how long we had together... who does?"

"I watched him die all night. It was a long, slow thing... and he fought it all the way. He never whimpered, and he never quit. He took all the time he had, as though he loved life very much. Every second of it... even the pain. Then, he was dead."

"Stop right where you are! You know the score, pal! If you're not cop, you're little people."

"Talk about beauty and the beast — she's both."

"Is this testing whether I'm a Replicant or a lesbian, Mr. Deckard?"

"Painful to live in fear, isn't it? Nothing is worse than having an itch you can never scratch. Wake up! Time to die!"

"Fiery the angels fell; deep thunder rolled around their shores; burning with the fires of Orc."

"Quite an experience to live in fear, isn't it? That's what it is to be a slave."

"I've seen things you people wouldn't believe. Attack ships on fire off shoulder of Orion. I watched c-beams glitter in the dark near the Tannhäuser Gate. All those moments will be lost in time, like tears in rain. Time to die."

"You've done a man's job, sir!"

"It's too bad she won't live. But then again, who does?"

"PA Voice: A new life awaits you in the Off-World colonies. The chance to begin again in a golden land of opportunity and adventure!"

"You’re in a desert walking along in the sand when all of the sudden you look down, and you see a tortoise. It’s crawling toward you. You reach down. You flip the tortoise over on its back. The tortoise lays on its back, its belly baking in the hot sun, beating its legs trying to turn itself over but it can’t — not without your help. But you’re not helping. Why is that?"

"Describe in single words, only the good things that come into your mind about your mother."

"It’s your birthday. Someone gives you a calfskin wallet."

"You’ve got a little boy. He shows you his butterfly collection plus the killing jar."

"You’re watching television. Suddenly you realize there’s a wasp crawling on your arm."

"You're reading a magazine. You come across a full-page nude photo of a girl. You show it to your husband. He likes it so much, he hangs it on your bedroom wall."

"You become pregnant by a man who runs off with your best friend, and you decide to get an abortion."

"You're watching a stage play. A banquet is in progress. The guests are enjoying an appetizer of raw oysters. The entree consists of boiled dog."

"Man has made his match. Now it's his problem."

"The purpose of this story as I saw it was that in his job of hunting and killing these replicants, Deckard becomes progressively dehumanized. At the same time, the replicants are being perceived as becoming more human. Finally, Deckard must question what he is doing, and really what is the essential difference between him and them? And, to take it one step further, who is he if there is no real difference?"

"In an earlier review of "Blade Runner," I wrote; "It looks fabulous, it uses special effects to create a new world of its own, but it is thin in its human story." This seems a strange complaint, given that so much of the movie concerns who is, and is not, human, and what it means to be human anyway. Now study that paragraph again and notice I have committed a journalistic misdemeanor. I have referred to replicants without ever establishing what a replicant is. It is a tribute to the influence and reach of "Blade Runner" that 25 years after its release virtually everyone reading this knows about replicants. Reviews of "The Wizard of Oz" never define Munchkins, do they? This is a seminal film, building on older classics like "Metropolis" (1926) or "Things to Come," but establishing a pervasive view of the future that has influenced science fiction films ever since. Its key legacies are: Giant global corporations, environmental decay, overcrowding, technological progress at the top, poverty or slavery at the bottom -- and, curiously, almost always a film noir vision. Look at "Dark City," "Total Recall," "Brazil," "12 Monkeys" or "Gattaca" and you will see its progeny. I have never quite embraced "Blade Runner," admiring it at arm's length, but now it is time to cave in and admit it to the canon."

"What I have always wondered is why the Tyrell Corporation made their androids so lifelike. Why not give them four arms and settle the matter, and get more work out of them? Is there a buried possibility that Tyrell's long-range plan is to replace humans altogether? Is the whole blade-running caper simply a cover for his scheme? But never mind. What matters to the viewer is that the ground rules seem to be in place, and apply in one of the most extraordinary worlds ever created in a film."

"That was the main area of contention between Ridley and myself at the time. I thought the audience deserved one human being on screen that they could establish an emotional relationship with. I thought I had won Ridley's agreement to that, but in fact I think he had a little reservation about that. I think he really wanted to have it both ways."

"About ten minutes into Blade Runner, I reeled out of the theater in complete despair over its visual brilliance and its similarity to the “look” of Neuromancer, my [then] largely unwritten first novel. Not only had I been beaten to the semiotic punch, but this damned movie looked better than the images in my head! [...] It was also obvious that Scott understood the importance of information density to perceptual overload. When Blade Runner works best, it induces a lyrical sort of information sickness, that quintessentially postmodern cocktail of ecstasy and dread. It was what cyberpunk was supposed to be all about"

"The secret of "Blade Runner" is that Scott's fantastically baroque, future-shock imagery, all dark decay and techno-clutter, effectively becomes the story. As the layers of mood and detail settle in, the very process by which we watch the film — scanning those shimmering, claustrophobic frames for signs of life — turns into a running metaphor for what "Blade Runner" is about: a world in which humanity has been snuffed by "progress." This is perhaps the only science-fiction film that can be called transcendental."

"As the movie explored 1980s themes, including genetic engineering and consumerism, it said more with production design than words, detailing a grim, overcrowded future where ornate architecture has been replaced by industrial overload. Harrison Ford, as Deckard, has an apartment so cramped and blocky, he appears to be living in a game of Tetris."

"In 1982, the movie Blade Runner envisaged the then far-off future world of November 2019 as being filled with lifelike androids, neon-drenched cities and ubiquitous flying cars. But November 2019 has arrived, and the future looks very different from the sci-fi noir prediction."

"“Today we use WhatsApp or FaceTime or whatever program you use to make video calls but in the movie they predicted people would go to video-phone booths,” he said. “So although the movie seemed quite advanced at the time and we are yet to get to some of its predictions, in other ways we’ve actually surpassed where the movie thought we would be.”"

"THE view of the future offered by Ridley Scott's muddled yet mesmerizing Blade Runner is as intricately detailed as anything a science-fiction film has yet envisioned. The year is 2019, the place Los Angeles, the landscape garish but bleak. The city is a canyon bounded by industrial towers, some of which belch fire. Advertising billboards, which are everywhere, now feature lifelike electronic people who are the size of giants. The police cruise both horizontally and vertically on their patrol routes, but there is seldom anyone to arrest, because the place is much emptier than it used to be. In an age of space travel, anyone with the wherewithal has presumably gone away. Only the dregs remain."

"At several points in the story, Deckard is called on to wonder whether Rachael has feelings. This seems peculiar, because the icy, poised Rachael, played by Sean Young as a 1940's heroine with spaceage trimmings, seems a lot more expressive than Deckard, who is played by Harrison Ford. Mr. Ford is, for a movie so darkly fanciful, rather a colorless hero; he fades too easily into the bleak background. And he is often upstaged by Rutger Hauer, who in this film and in Night Hawks appears to be specializing in fiendish roles. Mr. Hauer is properly cold-blooded here, but there is something almost humorous behind his nastiness. In any case, he is by far the most animated performer in a film intentionally populated by automatons."

"The end of the film is both gruesome and sentimental. Mr. Scott can't have it both ways, any more than he can expect overdecoration to carry a film that has neither strong characters nor a strong story. That hasn't stopped him from trying, even if it perhaps should have."

"In the context of science fiction, Deckard is the rare existential sci-fi hero. His claims to heroism are not that of a fantasy character like Superman but of an ordinary man confronted with a situation in which he may either escape or be seduced by his environment, and whose testament of courage is that he does not resign himself to the mo-rose life of his contemporaries. Having been nurtured by a pessimistic environment, Deckard manages to rise above the dreariness and corruption of his world and es-cape the suffocating influences of the future Los Angeles, while rescuing the hunted woman he loves Since "Blade Runner" is a study of the individual's emptiness in the face of his society, Deckard succeeds in doing what few characters in Hollywood science fiction have done: He outgrows his futuristic, technologically-awesome world and reestablishes his worth as a human being (or, if you will, a replicant), something which, though not as spectacular as defeating a squadron of invading aliens or slaying a monster, is nonetheless just as triumphant –and, in a dystopian future, something even harder to accomplish."

"It is a starkly empty film, preoccupied as it is with the thought that people themselves might be hollow. The plot depends on the notion that the replicants must be allowed to live no longer than four years, because as time passes they begin to develop raw emotions. Why emotion should be a capital offence is never sufficiently explained; but it is of a piece with the film’s investigation of a flight from feeling – what psychologist Ian D Suttie once named the “taboo on tenderness”. Intimacy here is frightful (everyone appears to live alone), especially that closeness that suggests that the replicants might be indistinguishable from us. This anxiety may originally have had tacit political resonances. In the novel that the film is based on, Philip K Dick’s thoughtful Do Androids Dream of Electric Sheep? (1968), the dilemma of the foot soldier plays out, commanded to kill an adversary considered less human than ourselves, yet troubled by the possibility that the enemy are in fact no different. Shades of Vietnam darken the story, as well as memories of America’s slave-owning past. We are told that the replicants can do everything a human being can do, except feel empathy. Yet how much empathy do we feel for faraway victims or inconvenient others?"

"People tend to classify my movies as cyberpunk fictions but I personally don't think they are. There are some films that I really enjoy such as Blade Runner, and they may have been helpful in shaping my movies to a certain degree. When you create a film dealing with humans and cyborgs, you have no choice but to refer back to Ridley Scott's Blade Runner, as this movie is probably the foundation of movies with this theme. Whether I'm trying to re-appropriate his language or not may not apply to my movies, because my goal is to always make a new movie that nobody has ever seen before. I think I've proven that with Innocence."

"You want an accounting, not a whodunnit but a what-got-dun? Blade Runner got the computerized parking meters right, and the talking streetlights. (“Cross now … cross now … don’t walk … don’t walk.”) Robot Metrokabs? So close. Streetside newsstands carrying an array of glossy magazines? Yeah, about that. Face-recognizing polygraphs? Check your phone’s forward-facing camera. We enhance digital photographs, and we have voice-controlled gadgets in our kitchens. Billionaires promise a life off-world of excitement and adventure, but we don’t even have billboard dirigibles, much less reliable rockets."

"Blade Runner always raised far more questions, literal and cosmological, than it answered, glibly presenting us with a complex and mysterious vision of our future selves, telling us only the scraps we needed to know to follow a plot about a detective who must find and kill the 21st Century equivalent of illegal aliens-so-called replicants, robots so sophisticated they can pass for humans."

"Blade Runner is a big-budget mood piece, an existential tone poem about the precarious nature of humanity and its relationship to the planet, set in one of the most elaborately constructed and imagined futures ever put on film. Watch any of Blade Runner’s street scenes, and it’s immediately apparent how much work went into creating its near-future Los Angeles. Director Ridley Scott’s shots are densely packed, nearly cluttered, with information: old cars outfitted with industrial odds and ends; flying vehicles with blinking monitors; graffiti-covered video payphones; storefronts with blaring neon signs competing for your attention; bands of strangely dressed people carrying umbrellas lit from the handles; video advertising, some of it vaguely menacing, plastered everywhere. Dirt and smog and steam coat everything."

"It’s not just that Harrison Ford looks dashing in neo-noir future wear or that the lighting is always moody and perfect, as if the entire city had been converted into a sultry nightclub — though none of that hurts. It’s that Blade Runner presents its futuristic city as one that is overrun by the liveliness of mass humanity. Its bustling sci-fi cityscape is defined by diversity and walkability, by commerce and cultural mixing, by industrial ingenuity and panoramas of larger-than-life advertising. Even as the city is dying, it teems with the business of life. The combination of realism and romanticism makes the movie’s 2019 Los Angeles a place you can imagine not only going to but wanting to visit."

"With its references to off-world colonies -- where humans get "a chance to begin again in a golden land of opportunity and adventure" -- "Blade Runner" was ahead of its time in introducing the idea that there are consequences to humankind's actions on Earth."

"The key design concept came to be called retrofitting, the idea being that once cities start to seriously break down, no one would bother to start new construction from scratch. Rather, such essentials as electrical and ventilation systems would simply be added onto the exteriors of older buildings, giving them a clunky, somehow menacing look. Progress and decay would exist hand in hand, and the city’s major buildings, like the massive, Mayan-inspired pyramid that houses the Tyrell Corp., would tower miles above the squalor below."

"According to one source, the preview cards filled out after both screenings told the same story: “This was a film that made demands on an audience that wasn’t expecting a movie that made demands on them, an audience somewhat befuddled by the film and very disappointed by the ending.” It wasn’t so much that people actively disliked “Blade Runner,” they were simply unprepared for it. Another crisis had arrived."

"Harrison Ford - Rick Deckard"

"Rutger Hauer - Roy Batty"

"Sean Young - Rachael"

"Edward James Olmos - Gaff"

"M. Emmet Walsh - Bryant"

"Daryl Hannah - Pris"

"William Sanderson - J.F. Sebastian"

"Brion James - Leon"

"Joe Turkel - Tyrell"

"Joanna Cassidy - Zhora"

"James Hong - Hannibal Chew"

"Morgan Paull - Holden"

"Kevin Thompson - Bear"

"John Edward Allen - Kaiser"

"Hy Pyke - Taffey Lewis"

"Ben Astar - Abdul Ben Hassan"

"Hey, hey, hey — don't be mean. We don't have to be mean. 'Cause, remember: no matter where you go... there you are."

"I've been ionized, but I'm okay now."

"Evil! Pure and simple, from the 8th Dimension! Get 'em!"

"The missing circuit's in your head, Whorfin!"

"There are times when verbal ingenuity is not enough."

"Nobody is nobody. Everyone has something to offer."

"If all wishes were gratified, many dreams would be destroyed."

"In my experience, nothing is ever what it seems to be, but everything is exactly what it is."

"The only reason for time is so that everything doesn't happen all at once."

"Treat us good, we'll treat you better. Treat us bad, We'll treat you worse."

"I speak Spanish to God, French to women, English to men, and Japanese to my horse."

"We have no special constitutional powers, unless you consider the extraordinary rights accorded every U.S. citizen by law, in which case we are amply empowered to go about our business."

"Today's impossible is tomorrow's reality."

"Mystery is the source of all true art and science."

"Be cool, but care."

"Si Vis Pacem, Para Bellum. (If you wish for peace, prepare for war)."

"The only way to know if a man is trustworthy is to trust him."

"The Mind's a funny thing . . . in the Summer it longs for Winter. In the Winter it longs for Summer. In the Spring . . . it heads for the Bahamas."

"Know that, as in life, there is much that many have looked upon but few have seen because, as my father told me and his father told him, you will come to learn a great deal if you study the insignificant in depth."

"Those in a hurry show only that the thing they are about is too big for them."

"Nothing real can defeat us. Nothing unreal exists."

"Progress Over Protocol."

"The man who has ceased to fear has ceased to care."

"Live like you're gonna die tomorrow and study like you're gonna live forever."

"A battle won is a battle which we will not acknowledge to be lost."

"Asking is a polite way of demanding."

"A thousand pities cannot undo one thoughtless act."

"A fool can throw a stone into the water which ten wise men cannot recover."

"The Three Loves: love of others, the love of justice, and the love of freedom."

"The Four Beauties: Mind, Language, Behavior, and Environment"

"I tell ya, if it ain't one thing, it's another."

"{dying words} What are y'all lookin' at? You're on the clock. Let's saddle up, huh?"

"Laugh(a) while you can, monkeyboy!"

"Sealed with a curse as sharp as a knife: "Doomed is your soul and damned is your life.""

"History is'a made at night. Character is what you are in the dark."

"Jesú Christo! (It) [M]ake the ganglia TWITCH!"

"Home. Home is where you wear your hat. "I feel so broke up...I want to go Home!""

"May I pass along my congratulations for your great interdimensional breakthrough. I am sure, in the miserable annals of the Earth, you will be duly enshrined."

"{moments before dying in a fiery explosion} Banzai! I'll see you in HELL!!!"

"{repeated line} BigbooTAY!"

"Let's go back up to my office and talk about this like two reasonable beings."

"Put the snot on the track, John O'Connor."

"It's not my goddamn planet. Understand, monkeyboy?"

"{reading from a printed form} "Declaration of War... The Short Form"."

"Buckaroo, I don't know what to say. Lectroids? Planet 10? Nuclear extortion? A girl named "John"?"

"What are you talking about, man? Some kind of race war in New Jersey?"

"Excuse me, Mr. President. Time is short. In order to prevent John Whorfin's escape, my comrades are at this moment takin' up a geostationary position over New Jersey. De situation is explosive!"

"There is little time. You better come quickly if your planet is still important to you."

"Hellooo, Mr. Secretary! {finger flex}"

"Chase One Helicopter Pilot: This is Chase One. We got his tracks. They go right up to a wall of rock. Holy shit!"

"Hospital PA System: Lithium is no longer available on credit."

"Penny Priddy: I think I'm going crazy... Who's that girl, Buckaroo? What's going on around here? You drag me out of jail, you're... you're like Jerry Lewis, you give me hope to carry on, but... then you leave me in the lurch while you strap on your six-guns! What do you want from me, Buckaroo? Who am I?"

"Yoyodyne PA System: The only joy is the joy of duty. Work... work... work... Keep your nose to the grindstone."

"Red Lectroid Spaceship PA System: We are not in the Eighth dimension, we are over New Jersey. Hope is not lost."

"Sign for Yoyodyne Propulsion Systems: The future begins tomorrow."

"From the "Pinky Caruthers Unknown Facts" DVD feature: There is a term sometimes used at the Banzai Institute: The Three Bs, meaning the Bus, the Bath, and the Bed. That is where the greatest discoveries are made in science. When one is at his most relaxed, the most receptive... that is when a foreign consciousness, a "stray bullet" as B. Banzai calls it, may pop into one's head."

"Radio communication: Horizontal velocity is expanding, over."

"It just didn’t get the press or publicity it needed and the picture got lost in the shuffle."

"Beings from Another Dimension have invaded your world."

"You can't see them...but they can see you."

"Your only hope is Buckaroo Banzai."

"Expect the unexpected. He does."

"[first lines] Saturday, March 24, 1984. Shermer High School, Shermer, Illinois, 60062. Dear Mr. Vernon, we accept the fact that we had to sacrifice a whole Saturday in detention for whatever it was we did wrong. What we did was wrong. But we think you're crazy to make us write an essay telling you who we think we are. What do you care? And you see us as you want to see us - in the simplest terms, in the most convenient definitions. You see us as a brain, an athlete, a basket case, a princess, and a criminal. Correct? That's the way we saw each other at 7:00 this morning. We were brainwashed."

"Chicks cannot hold their smoke, dat's what it is."

"Screws fall out all the time; the world is an imperfect place."

"Hey, how come Andrew gets to get up? If he gets up, we'll all get up…it'll be anarchy!'"

"[to Claire] You know how you said before that your parents use you to get back at each other? Wouldn't I be outstanding in that capacity?"

"Yeah, I got a question. Does Barry Manilow know that you raid his wardrobe?"

"They only met once, but it changed their lives forever."

"They were five total strangers, with nothing in common, meeting for the first time. A brain, a beauty, a jock, a rebel and a recluse. Before the day was over, they broke the rules. Bared their souls and touched each other in a way they never dreamed possible."

"Five strangers with nothing in common, except each other."

"Emilio Estevez — Andrew "Andy" Clark"

"Anthony Michael Hall — Brian Ralph Johnson"

"Judd Nelson — John Bender"

"Molly Ringwald — Claire Standish"

"Ally Sheedy — Allison Reynolds"

"Paul Gleason — Vice Principal Richard Vernon"

"John Kapelos — Carl, the Janitor"

"[narrating] Parris Island, South Carolina—the United States Marine Corps Recruit Depot, an eight-week college for the phony tough and the crazy brave."

"[narrating] The dead know only one thing: it is better to be alive."

"I wanted to see exotic Vietnam... the crown jewel of Southeast Asia. I wanted to meet interesting and stimulating people of an ancient culture... and kill them. I wanted to be the first kid on my block to get a confirmed kill."

"[narrating] Graduation is only a few days away, and the recruits of Platoon 3092 are salty. They are ready to eat their own guts and ask for seconds. The drill instructors are proud to see that we are growing beyond their control. The Marine Corps does not want robots. The Marine Corps wants killers. The Marine Corps wants to build indestructible men, men without fear."

"[narrating; last lines] We have nailed our names in the pages of history enough for today. We hump down to the Perfume River to set in for the night. My thoughts drift back to erect-nipple wet dreams about Mary Jane Rottencrotch and the Great Homecoming Fuck Fantasy. I am so happy that I am alive, in one piece, and short. I'm in a world of shit, yes, but I am alive. And I am not afraid."

"[To Private Pyle when he is unable to climb over an obstacle on a course] Are you quitting on me? Well, are you? Then quit, you slimy fucking walrus-looking piece of shit! Get the fuck off of my obstacle! Get the fuck down off of my obstacle! NOW! MOVE IT! Or I'm going to rip your balls off, so you cannot contaminate the rest of the world! I will motivate you, Private Pyle, IF IT SHORT-DICKS EVERY CANNIBAL ON THE CONGO!"

"[Graduation speech to the platoon] Today, you people are no longer maggots. Today, you are Marines. You're part of a brotherhood. From now on, until the day you die, wherever you are, every Marine is your brother. Most of you will go to Vietnam. Some of you will not come back. But always remember this: Marines die. That's what we're here for. But the Marine Corps lives forever and that means you live forever."

"The deadliest weapon in the world is a Marine and his rifle. It is your killer instinct which must be harnessed if you expect to survive in combat. Your rifle is only a tool. It is a hard heart that kills. If your killer instincts are not clean and strong, you will hesitate at the moment of truth. You will not kill. You will become dead Marines. And then you will be in a world of shit. Because Marines are not allowed to die without permission! Do you maggots understand?"

"[Speech to the platoon on Christmas Day] Today is Christmas. There will be a magic show at 0930. Chaplain Charlie will tell you about how the free world will conquer Communism with the aid of God and a few Marines. God has a hard-on for Marines because we kill everything we see. He plays His games, we play ours. To show our appreciation for so much power, we keep Heaven packed with fresh souls. God was here before the Marine Corps. So you can give your heart to Jesus, but your ass belongs to the Corps!"

"Drop your cocks and grab your socks!"

"These are great days we're living, bros. We are jolly green giants, walking the Earth with guns. These people we wasted here today are the finest human beings we will ever know. After we rotate back to the world, we're gonna miss not having anyone around that's worth shooting."

"[after he and the other recruits have hazed Pyle by restraining and beating him] Remember, it's just a bad dream, fat boy!"

"In Vietnam, the wind doesn't blow. It sucks."

"Vietnam can kill me, but it can't make me care."

"Matthew Modine - Private/Sergeant James T. "Joker" Davis"

"Vincent D'Onofrio - Private Leonard "Gomer Pyle" Lawrence"

"R. Lee Ermey - Gunnery Sergeant Hartman"

"Adam Baldwin - Animal Mother"

"Dorian Harewood - Private Eightball"

"Arliss Howard - Private/Sergeant "Cowboy" Evans"

"Kevyn Major Howard - Rafterman"

"Ed O'Ross - Lieutenant Touchdown / Walter J. Schinoski"

"John Terry - Lieutenant Lockhart"

"Kieron Jecchinis - "Crazy" Earl"

"Kirk Taylor - Payback"

"Peter Edmund - Private "Snowball" Brown"

"Tim Colceri - Doorgunner"

"Gil Kopel - Stork"

"This is paradise. This is paradise, I'm tellin' you. This town's like a great big pussy just waitin' to get fucked. I'm tellin' you. I shoulda come here ten years ago. I'd have been a millionaire by this time. By this time, I'd have had my own boat, my own car, my own golf course."

"What I try to tell you? This country, you gotta make the money first. Then when you get the money, you get the power. Then when you get the power, then you get the woman. That's why you gotta make your own moves."

"I never fucked anybody over in my life that didn't have it coming to 'em. You got that? All I have in this world is my balls and my word, and I don't break 'em for no one."

"You know what capitalism is? Gettin' fucked!"

"Hey, fuck you man! Who put this thing together? Me, that's who! Who do I trust? Me!"

"[To the guests at the restaurant] What you lookin' at? You all a bunch of fuckin' assholes. You know why? You don't have the guts to be what you wanna be. You need people like me. You need people like me so you can point your fuckin' fingers and say, "That's the bad guy." So... what that make you? Good? You're not good. You just know how to hide, how to lie. Me, I don't have that problem. Me, I always tell the truth. Even when I lie. So say good night to the bad guy! Come on. The last time you gonna see a bad guy like this again, let me tell you. Come on. Make way for the bad guy. There's a bad guy comin' through! Better get outta his way!"

"I'm Tony Montana! You fuck with me, you fuckin' with the best!"

"Okay, Sosa. YOU WANNA FUCK WITH ME?! You fucking with the best! You wanna fuck with me? Okay. Okay, you little cockroaches... come on! You wanna play games? Okay, I can play with you. Come on! Okay, YOU WANNA PLAY ROUGH?! Okay! SAY HELLO TO MY LITTLE FRIEND!"

"[Shouting defiantly after being shot several times] Hey, how'd you like that? Huh? You fuckin' maricón! Hey, cockroaches! You think you can take me?! You need a fuckin' army if you're gonna take me! You hear?! C'mon! I'll take you all to fuckin' Hell! Come on! Come on! Come to me! Okay! Who you think you fuckin' with? I'm Tony Montana! You fuck with me, you fuckin' with the best! [While being shot repeatedly] Come on! I'm still standin', huh! Fuck! Come on! Go ahead! I'll take your fuckin' bullet! Come on! I'll take your fuckin' bullets! You think you can kill me with bullets?! I'll take your fuckin' bullets! Go ahead!"

"The eyes, chico. They never lie."

"Amigo, the only thing in this world that gives orders is balls, you got that? Balls."

"Why don't you try sticking your head up your ass? See if it fits."

"Do you know what a chazzer is, Frank? That's a pig that can't fly straight!"

"[To Manny over assassinating Rebenga, a former-Cuban politician] You know I kill a communist for fun... but for a green card, I'm gonna carve 'em up real nice."

"[Manny leads Rebenga along by menacing him through a tent in a camp uprising with all the detentionees chanting; "¡Libertad!" (Liberty), Tony ambushes Rebenga with a knife when he leaves the other way] Rebenga! From a friend you fucked!"

"Lesson number two: Don't get high on your own supply."

"How much? Well, there's an answer to that, too. [Writes down the number of monthly bribes on a napkin and shows it to Tony] Here's how much. Can you see it?"

"Yeah! That's on a monthly basis, same thing every month. Do you know how this works?"

"We tell you who's moving against you and we shake down who you want shaken down. Let's say that you've got a real problem making a collection. And then we step in for you. Got eight killers with badges working for me. When they hit, it hurts. Same thing works the other way. You feed me a bust now and then. Some cowboy setting himself up in business. Small-fry, you know? We like snacks."

"Well, that's not my business, Tony. We don't cross no lines. Listen, you think I want this conversation going any farther than this table? My guys got families. They're legitimate cops. I don't want to see them embarrassed. If they're embarrassed, they'll suffer. If they suffer, they'll make you suffer. D'you understand what I'm talking about? Thanks for the drink. By the way, I've got a vacation coming up. I'm gonna take the wife to London, England. We've never been there. So, throw in a couple of round-trip tickets, first class. You ought to smile more, Tony. You gotta enjoy yourself. Every day above ground is a good day."

"Six months to start don't mean shit, Larry. I'm not a Rockefeller, you know. Not yet anyway. So you owe me a quarter."

"He loved the American Dream. With a Vengeance."

"In the spring of 1980 the port at Mariel Harbor was opened, and thousands set sail for the United States. They came in search of the American Dream. One of them found it on the sun washed avenues of Miami... wealth, power, and passion beyond his wildest dreams. He was Tony Montana but the world will remember him by another name... Scarface."

"He wanted to live the American dream until the end."

"The World Is Yours."

"Al Pacino – Tony Montana"

"Steven Bauer – Manolo "Manny" Ribera"

"Michelle Pfeiffer – Elvira Hancock"

"Mary Elizabeth Mastrantonio – Gina Montana"

"Harris Yulin – Mel Bernstein"

"Robert Loggia – Frank Lopez"

"Míriam Colón – Georgina Montana"

"F. Murray Abraham – Omar Suarez"

"Paul Shenar – Alejandro Sosa"

"Ángel Salazar – Chi-Chi"

"Arnaldo Santana – Ernie"

"Pepe Serna – Angel Fernandez"

"Michael P. Moran – Nick the Pig"

"Al Israel – Hector the Toad"

"Dennis Holahan – Jerry"

"Mark Margolis – Alberto"

"Michael Alldredge – George Sheffield"

"Ted Beniades – Seidelbaum"

"Geno Silva – "The Skull""

"Zexy, Zany, Zensational !"

"George Hamilton - Don Diego Vega / Zorro / Bunny Wigglesworth / Ramon Vega"

"Lauren Hutton - Charlotte Taylor-Wilson"

"Brenda Vaccaro - Florinda"

"Ron Leibman - Captain Esteban"

"Donovan Scott - Paco"

"James Booth - Velasquez"

"Helen Burns - Consuelo"

"Clive Revill - Garcia"

"Carolyn Seymour - Dolores"

"Eduardo Noriega - Don Francisco"

"Pilar Pellicer - Don Francisco's wife"

"Jorge Russek - Don Fernando"

"Eduardo Alcaraz - Don Jose"

"Carlos Bravo y Fernández - Don Luis Obispo"

"Roberto Dumont as Ferraro"

"Jorge Bolio - Pablito"

"Frank Welker - Narrator (voice)"

"Ten million years in the making. The truth, the whole truth, and everything, but the truth!"

"A little something to offend everyone..."

"IN MEL WE TRVST"

"Mel Brook's History of the World - Part I shows its stripes right from the opening scene. In this Dawn of Man episode, apelike creatures rise up from the mud, learning to stand erect and reaching nobly toward the heavens. Then they begin bumping, grinding, rutting, gyrating and otherwise slipping back to the slime from whence they came. The movie, like these primitives, delights in being lowdown. Even by prehistoric standards, Mr. Brooks's latest comedy is especially crude... There are loads of familiarly funny gags in the film... But the movie is so sour that its humor is often undermined, because so many of the jokes are either mean-spirited or scatological, or both. Women are either explicitly predatory or stupidly decorative, and homosexuals are made fun of regularly. Bathroom jokes are everywhere. Flamboyantly bad taste, which Mr. Brooks raised to the level of supreme wit in his Springtime for Hitler number in The Producers, is this time just bad. A musical number about the Spanish Inquisition, with Mr. Brooks playing a torturer who merrily abuses Jews, is about as crashingly unfunny as a musical number can be...In Rome, we... watch a gladiator on an unemployment line, being asked... Did you kill last week? Did you try to kill last week?... As a waiter at the Last Supper, Mr. Brooks is seen asking the apostles whether they'd like separate checks. As Moses, addressed by the Lord, he mutters: Yes, I hear you, I hear you. A deaf man could hear you!"

"Brooks casts his comedic eye at humanity's past and... seems to view our story as one of big guys keeping little guys down. To quote the film's most famous line: "It's good to be the king." ...King Louis XVI (Brooks) goes clay pigeon shooting with peasants, where a man is thrown in prison for saying the lower classes "ain't so bad" and where the Roman Senate angrily shouts "F**k the poor!" Brooks doesn't merely lampoon economic injustices. Sexism, racism, anti-Semitism and human cruelty in general are all satirized... If there is a running theme in Brooks' view of major historical events..., it is that people with money and power have great lives. For people without those things — or who belong to marginalized groups in general — life stinks. ..the genius of "History of the World" is that it manages to subtly convey Brooks' social critiques in the packaging of a zany Borscht Belt comedy. If climate change and pollution destroy the human race, and an alien civilization was to find just one work of art to understand the human condition, I can't think of anything better than "History of the World." This is not being said in jest. "History of the World" captures one of the greatest joys of human existence — the ability to laugh — even as it recounts some of the most important events in our collective story. Perhaps most significantly, it chronicles the stupidity and selfishness that will have led to our downfall."

"Orson Welles - Narrator"

"Mel Brooks - Moses, Comicus, Tomas de Torquemada, Louis XVI of France and Jacques le Garçon de Pisse"

"Dom DeLuise - Emperor Nero"

"Madeline Kahn - Empress Nympho"

"Harvey Korman - Count de Monet"

"Cloris Leachman - Madame Defarge"

"Ron Carey - Swiftus Lazarus"

"Gregory Hines - Flavius Josephus"

"Pamela Stephenson - Mademoiselle Rimbaud"

"Spike Milligan - Monsieur Rimbaud"

"Andreas Voutsinas - Béarnaise"

"Shecky Greene - Marcus Vindictus"

"Sid Caesar - Chief Caveman"

"Bea Arthur - Dole office clerk"

"Mary-Margaret Humes - Miriam"

"Paul Mazursky - Roman officer"

"Hugh Hefner - Roman outside Temple of Eros"

"Barry Levinson - Column Salesman"

"Charlie Callas - Soothsayer"

"John Hurt - Jesus Christ"

"Andrew Sachs - Gerard"

"My father's name was John Kinsella. It's an Irish name. He was born in North Dakota in 1896 and never saw a big city until he came back from France in 1918. He settled in Chicago where he quickly learned to live and die with the White Sox. Died a little when they lost the 1919 World Series, died a lot the following summer when 8 members of the team were accused of throwing that series. He played in the minors for a year or two but nothing ever came of it. Moved to Brooklyn in '35, married mom in '38 and was already an old man working at the naval yards when I was born in 1952. My name's Ray Kinsella. Mom died when I was three and I suppose dad did the best he could. Instead of Mother Goose, I was put to bed at night with stories of Babe Ruth, Lou Gehrig and the great "Shoeless" Joe Jackson. Dad was a Yankees fan then so, of course, I rooted for Brooklyn. But in '58 the Dodgers moved away and we had to find other things to fight about. We did. And when it came time to go to college, I picked the farthest one away from home I could find. [Ray is seen on the University of California, Berkeley campus] This of course drove him right up the wall which, I suppose, was the point. Officially my major was English but, really, it was the '60s. I marched, I smoked some grass, I tried to like sitar music, and I met Annie. The only thing we had in common was that she came from Iowa and I had once heard of Iowa. After graduation we moved to the mid-west and stayed with her family as long as we could; almost a full afternoon. Annie and I got married in June of '74. Dad died that fall. A few years later, Karen was born. She smelled weird but, we loved her anyway. Then Annie got the crazy idea that she could talk me into buying a farm. I'm 36 years old, I love my family, I love baseball and I'm about to become a farmer. But until I heard the voice, I'd never done a crazy thing in my whole life."

"[To Moonlight Graham as he leaves the field] Hey, rookie! You were good."

"If you build it, he will come."

"Ease his pain."

"Go the distance."

"All his life, Ray Kinsella was searching for his dreams. Then one day, his dreams came looking for him."

"If you believe the impossible, the incredible can come true."

"Kevin Costner - Ray Kinsella"

"Amy Madigan - Annie Kinsella"

"Gaby Hoffmann - Karin Kinsella"

"Ray Liotta - Shoeless Joe Jackson"

"James Earl Jones - Terence Mann (This character was derived from that of J. D. Salinger as portrayed in the story Shoeless Joe.)"

"Burt Lancaster - Dr. Archibald 'Moonlight' Graham"

"Timothy Busfield - Mark"

"The Voice - Himself (per end credits)"

"Prison life is more structured than most men care for."

"I tried to stand up and fly straight, but it wasn't easy with that sumbitch Reagan in the White House. I don't know. They say he's a decent man, so maybe his advisors are confused."

"At first I didn't believe it — that this woman, who looked as fertile as the Tennessee Valley, could not bear children. But the doctor explained that her insides were a rocky place where my seed could find no purchase."

"I drifted off thinking about happiness, birth, new life. But now I was haunted by a vision of — he was horrible! — a lone biker of the apocalypse; a man with all the powers of hell at his command. He turned day into night and laid to waste everything in his path. He was especially hard on the little things, the helpless and the gentle creatures. He left a scorched earth in his wake, befouling even the sweet desert breeze which crossed his brow. I didn't know where he came from or why. I didn't know if he was dream or vision, but I feared that I myself had unleashed him. He was the fury that would be as soon as Florence Arizona found her little Nathan gone!"

"There's what's right, and there's what's right, and never the twain shall meet."

"Nathan needs some Huggies, I'll be out directly. Mind you stay strapped in."

"I'll be taking these Huggies and whatever cash you got."

"That night I had a dream. I dreamt I was as light as the ether, a floating spirit visiting things to come. The shades and shadows of the people in my life wrestled their way into my slumber. I dreamt that Gale and Evelle had decided to return to prison. Probably that's just as well. I don't mean to sound superior, and they're a swell couple of guys, but maybe they weren't ready yet to come out into the world. And then I dreamed on, into the future, to a Christmas morn in the Arizona home where Nathan Junior was opening a present from a kindly couple who preferred to remain unknown. I saw Glen a few years later, still having no luck getting the cops to listen to his wild tales about me and Ed. Maybe he threw in one Polack joke too many. I don't know. And still I dreamed on, further into the future than I'd ever dreamed before, watching Nathan Junior's progress from afar, taking pride in his accomplishments, as if he were our own, wondering if he ever thought of us, and hoping that maybe we'd broadened his horizons a little, even if he couldn't remember just how they got broadened. But still I hadn't dreamt nothin' about me and Ed, until the end. And this was cloudier, 'cause it was years, years away. But I saw an old couple being visited by their children, and all their grandchildren too. The old couple wasn't screwed up, and neither were their kids or their grandkids. And I don't know. You tell me. This whole dream, was it wishful thinking? Was I just fleeing reality like I know I'm liable to do? But me and Ed, we can be good, too. And it seemed real. It seemed like us, and it seemed like, well, our home. If not Arizona, then a land not too far away, where all parents are strong and wise and capable, and all children are happy and beloved. I don't know. Maybe it was Utah."

"Give me that baby, you warthog from hell!"

"We didn't escape, we released ourselves on our own recognizance."

"H.I., you're young and you got your health. What you want with a job?"

"Well, this is nothing but a goddamn shakedown and a screwjob, any way you look at it!"

"And if a frog had wings he wouldn't bump his ass a-hoppin'."

"I don't know what his damn jammies looked like... they had Yodas and shit on them."

"Nobody sleeps naked in this house boy!"

"800 leaf tables and no chairs. You can't sell leaf tables and no chairs. Chairs you got a dinette set, no chairs you got dick! I ask my wife she got more sense."

"Are you boys gonna chase down your leads or are you gonna sit around drinking coffee in the one house in the state where I know my boy ain't at?"

"Everyone leaves microbes and whatnot. Hell, that’s your forte ain’t it, tracking down them microbes left by criminals and commies n’ shit. That's your whole God-damn raison d'etre, ain't it?"

"I said, "Healthy white baby? Five years? What else you got?" Said they got two Koreans and a negra born with his heart on the outside. It's a crazy world."

"Say, did you hear about the person of the Polish persuasion who walked into a bar with a big 'ol pile of shit in his hands and he says, "Look what I almost stepped in"?"

"Payroll Cashier: Government do take a bite, don't she?"

"Leonard Smalls: You want to find an outlaw, hire an outlaw. You want to find a Dunkin' Donuts, call a cop."

"Feisty Hayseed: Well, which is it young feller? You want I should freeze or get down on the ground? I mean to say, if'n I freeze I can't rightly drop, and if'n I drop I'm a gonna be in motion."

"Hayseed in Pickup: Son, you got a panty on your head."

"Dot: Riley!. ... You take that diaper off your head! You put it back onto your sister!"

"Dot: You gotta get 'em diptet boosters yearly or else they'll develop lockjaw and night vision."

"Dot: That there's for his orthodonture and his university. You soak his thumb in iodine and you might get by without the orthodonture, but it won't knock a thing off the university."

"Nicolas Cage as Herbert "H.I."/"Hi" McDunnough"

"Holly Hunter as Edwina "Ed" McDunnough"

"Trey Wilson as Nathan Arizona, Sr."

"John Goodman as Gale Snoats"

"William Forsythe as Evelle Snoats"

"Sam McMurray as Glen"

"Frances McDormand as Dot"

"Randall "Tex" Cobb as Leonard Smalls (Lone Biker of the Apocalypse)"

"T.J. Kuhn as Nathan Jr."

"Lynne Dumin Kitei as Florence Arizona"

"Warren Keith as Younger FBI Agent"

"Henry M. Kendrick as Older FBI Agent"

"Charles "Lew" Smith as Whitey (convenience store clerk)"

"M. Emmet Walsh as Machine Shop Ear-Bender"

"Patrick McAreavy as Whitetail Ferguson"

"Somebody once wrote, "Hell is the impossibility of reason." That's what this place feels like. Hell. I hate it already and it's only been a week. Some goddamn week, Grandma. The hardest thing I think I've ever done is go on point three times this week - I don't even know what I'm doing. A gook could be standing three feet in front of me and I wouldn't know it. I'm so tired. We get up at 5 am, hump all day, camp around four or five, dig a foxhole, eat, then put out an all-night ambush or a three-man listening post in the jungle. It's scary, 'cause nobody tells me how to do anything 'cause I'm new and nobody cares about the new guys. They don't even want to know your name. The unwritten rule is a new guy's life isn't worth as much 'cause he hasn't put his time in yet. And they say if you're gonna get killed in the Nam, it's better to get it in the first few weeks, the logic being you don't suffer that much. If you're lucky, you get to stay in the perimeter at night and then you pull a three-hour guard shift, so maybe you sleep 3, 4 hours a night, but you don't really sleep. I don't think I can keep this up for a year, Grandma. I think I've made a big mistake comin' here. Of course, Mom and Dad didn't want me to come here. They wanted me to be just like them. Respectable, hardworking, a little house, a family. They drove me crazy with their goddamn world, Grandma. You know Mom. I guess I've always been sheltered and special. I just wanna be anonymous like everybody else. Do my share for my country. Live up to what Grandpa did in the first war and Dad did in the second. Well, here I am, anonymous alright, with guys nobody really cares about. They come from the end of the line, most of 'em. Small towns you never heard of: Pulaski, Tennessee. Brandon, Mississippi. Pork Bend, Utah. Wampum, Pennsylvania. Two years' high school's about it. Maybe if they're lucky, a job waiting for 'em back in a factory. But most of 'em got nothin'. They're poor. They're the unwanted. Yet they're fighting for our society and our freedom. It's weird, isn't it? At the bottom of the barrel, and they know it. Maybe that's why they call themselves 'grunts', cause a grunt can take it, can take anything. They're the best I've ever seen, Grandma. The heart and soul. Maybe I finally found it way down here in the mud. Maybe from down here I can start up again and be something I can be proud of, without having to fake it, be a fake human being. Maybe I can see something I don't yet see, or learn something I don't yet know. I miss you. I miss you very much. Tell Mom I miss her too. Chris."

"New Year's Day, 1968. Just another day, stayin' alive. There's been a lot of movement near the Cambodian border, regiments of NVA moving across. A lot of little firefights and ambushes. We drop a lot of bombs and then we walk through the jungle like ghosts in a landscape."

"Day by day I struggle to maintain not only my strength but also my sanity. It's all a blur. I have no energy to write. I don't know what's right or wrong anymore. The morale of the men is low, a civil war in the platoon. Half the men with Elias, half with Barnes. There's a lot of suspicion and hate. I can't believe we're fighting each other when we should be fighting them."

"I think now, looking back, we did not fight the enemy, we fought ourselves, and the enemy was in us. The war is over for me now, but it will always be there, the rest of my days. As I'm sure Elias will be, fighting with Barnes for what Rhah calls "possession of my soul". There are times since, I've felt like a child, born of those two fathers. But be that as it may, those of us who did make it have an obligation to build again. To teach to others what we know, and to try with what's left of our lives to find a goodness and a meaning to this life."

"[to a wounded soldier] Shut up! Shut up, and take the pain! TAKE THE PAIN!"

"[pointing to a dead soldier] You all take a good look at this lump of shit. Remember what it looks like. You fuck up in a firefight and I goddamn guarantee you a trip out of the bush, in a body bag! Out here, assholes, you keep your shit wired tight at all times! [turns to Taylor] And that goes for you, shit-for-brains. You don't sleep on no fuckin' ambush! [turns to Junior] And the next sum'bitch I catch coppin' Z's in the bush, I'm personally gonna take an interest in seein' him suffer. I shit you not. Doc, tag him and bag him!"

"You talking about killing? Hmm? Y'all experts? Y'all know about killing? I'd like to hear about it, potheads. [takes pipe and sniffs] Are you smoking this shit so's to escape from reality? Me, I don't need this shit. I am reality. There's the way it ought to be, and there's the way it is. Elias was full of shit. Elias was a crusader. Now, I got no fight... with any man who does what he's told. But when he don't, the machine breaks down. And when the machine breaks down, we break down. And I ain't gonna allow that...in any of you. Not one. [hands pipe back and spits] Y'all love Elias. Oh, you wanna kick ass. Yeah. Well, here I am, all by my lonesome. And there ain't nobody gonna know. Six of you boys against me. Kill me. [pause] Huh. I shit on all of you."

"Charlie Sheen - Chris Taylor"

"Tom Berenger - Sgt. Barnes"

"Willem Dafoe - Sgt. Elias"

"Forest Whitaker - Big Harold"

"Francesco Quinn - Rhah"

"John C. McGinley - Sgt. Red O'Neill"

"Richard Edson - Sal"

"Kevin Dillon - Bunny"

"Reggie Johnson - Junior Martin"

"Keith David - King"

"Johnny Depp - Gator Lerner"

"David Neidorf - Tex"

"Mark Moses - Lt. Wolfe"

"Chris Pedersen - Crawford"

"Tony Todd - Sgt. Warren"

"Corkey Ford - Manny"

"Ivan Kane - Tony Hoyt"

"Paul Sanchez - Doc Gomez"

"Corey Glover - Francis"

"Bob Orwig - Gardner"

"Kevin Eshelman - Morehouse"

"James Terry McIlvain - Ace"

"Dale Dye - Capt. Harris"

"Oliver Stone - Alpha Company major in bunker"

"The first casualty of war is innocence."

"The first real casualty of war is innocence. The first real movie about the war in Vietnam is Platoon."

"[in tiny print]: If you can read this, you don't need glasses."

"How many Assholes have we got on this ship, anyhow? [Everyone On-Board: [raises hands; except one] Yo!] I knew it, I'm surrounded by Assholes! [lowers helmet] Keep firing, Assholes!"

"[Mr. Radar has just been "jammed" with raspberry.] There's only one man who would dare give me the raspberry: [pulls down helmet as camera zooms in on his face] Lone Starr! [camera slams into his face and knocks him out]"

"Now we'll show her who is in charge of this galaxy. [A soldier volunteers, but Helmet stops him] Hold it...I'll handle this personally. [Soldier: Jawohl, Lord Helmet!] So Princess Vespa, you thought you could outwit the imperious forces of Planet Spaceball. Well you were wrong. You are now our prisoner and you will be held captive until such time as all the air is transferred from your planet...to ours. [pauses, looking at the camera, then opens door, but finds nothing, then lifts helmet] She's not in there!"

"What's the matter, Colonel Sandurz?! Chicken?!!"

"Ludicrous Speed, Go!"

"[feeling the force of going at Ludicrous Speed] What have I done?! My brains are going into my feet!"

"Yogurt! Yogurt! I hate Yogurt! Even with strawberries!"

"[ogling Dr. Philip Schlotckens' nurse] I bet she gives great helmet."

"1-2-3-4-5? That's the stupidest combination I've ever heard of in my life! That's the kinda thing an idiot would have on his luggage!"

"Commence operation [pause] "Vacu-Suck"!"

"You have the ring. And I see your Schwartz is as big as mine. Now, let's see how well you handle it."

"[To Lone Starr] I am your father's brother's nephew's cousin's former roommate."

"Shit! I hate it when I get my Schwartz twisted!"

"So, Lone Starr, now you see that evil will always triumph, because good is dumb."

"Say goodbye to your two best friends, and I don't mean your pals in the Winnebago."

"[about the self-destruct cancellation button being out of order] Out of order?! Fuck! Even in the future nothing works!"

"Come back, you fat bearded bitch!"

"[After Barf, introduces himself, opening the emergency exit of the wedding car] Not in here, Mister. This is a Mercedes!"

"It's either the 4th of July or someone's trying to kill us!"

"We'll have none of that mister! How far did he get? What'd he touch?"

"Well... [sniffs] Goodbye, virgin alarm."

"Here I am! I'm sorry! I had to make a pit stop! I'm so excited that I couldn't hold my oil."

"That was my virgin alarm. It's programmed to go off before you do."

"[After beaming to the bridge, his head is on backwards] Why didn't somebody tell me my ass was so big?!"

"[Commanderette Zircon calls him on a video monitor in his bathroom] I told you never to call me on this wall! This is an unlisted wall!"

"1, 2, 3, 4, 5? That's amazing! I've got the same combination on my luggage! [Sandurz and Helmet look at each other in disbelief]"

"[Winded after running down the bridge] The ship is too big. If I walk, the movie will be over."

"[to Dark Helmet] Never have that damn thing down in front of me! How do I know that you're not making faces at me under that thing?"

"[When the self-destruct siren is going off] Where the hell are we, Paris?!?"

"Sandurz, Sandurz! You got to help me! I don't know what to do. I can't make decisions! I'm a president!"

"One pod left and three of us, and I'm the president. Well, boys, it's a very lovely ship; I think you should go down with it. Goodbye. What the hell's the matter with this seat belt? AHHH! [finding a bear already in the seat]"

"Spaceballs? Forget it, too dangerous. Besides, I'm already numero uno on Dark Helmet's hit list."

"YOU listen! On this ship, you are to refer to me as "idiot," not "you captain"! I mean - you know what I mean!"

"Helmet. So, at last we meet for the first time for the last time. [Pauses, reads script {off-screen}]...Yeah."

"[waking up on the desert moon of Vega and surrounded by the Dinks] ...Did I miss something? When did we get to Disneyland?"

"[Talking to Barf after King Roland calls them to rescue Vespa] We're not just doing it for money...We're doing it for a shitload of money!"

"[Talking on the Winnebago intercom to the passengers] Buckle up back there, we're going into..."Hyperactive"!"

"Listen, you royal...highness. Take only what you need to survive. [Later, we see Lone Starr and Barf carrying the whole 'Royal Highness' Matched Luggage' across the desert...]"

"You know something, Princess? You're ugly when you're angry!"

"Look your highness, it's not that we're afraid, far from it. It's just that we've got this thing about death; it's not us."

"I'm a Mawg. Half-man, half-dog. I'm my own best friend."

"[Indicating the suitcases] It's her royal highness's matched luggage!"

"Funny, she doesn't look Druish."

"[After Vespa blows away a group of Spaceballs] Holy shit!"

"Well, normally I would-- [tries to get up with his seatbelt still on] Oooh! That's gonna leave a mark."

"They've gone to plaid!"

"Nice dissolve."

"I'll have the cleavage, I mean the special."

"The s- That's what I ordered! Change my order to the soup! [Lone Starr: Good move.]"

"I'm a mog: half man, half dog. I'm my own best friend!"

"King Roland: Please bring her back safely! [pause] And if it's at all possible, try to save the car. [whispers] It's not insured..."

"King Roland: I'm breathing! Air! AIR!!!"

"Druidian Priest: Excuse me. I'm trying to conduct a wedding here which has nothing to do with love. Please be quiet!"

"Druidian Priest: We are here to join these two together in holy—MOLY!!"

"Dark Helmet, Skroob, and Sandurz: [watching Mega Maid vacuum up Druidia's air] Suck...suck...suck!"

"Captain of the Guard: You idiots! These are not them! You've captured their stunt doubles!"

"Colonel Sandurz: It's Megamaid! She's gone from suck to blow!"

"Colonel Sandurz: [After discovering Dark Helmet playing with dolls] No, sir! I didn't see you playing with your dolls again!"

"Colonel Sandurz: Attention! This is Colonel Sandurz in forward command! Abandon ship! Abandon ship!"

"Diner Patron: Water, my ass! Get this guy some Pepto Bismol!"

"Princess Vespa: It's my industrial-strength hair-dryer, and I can't live without it!"

"Pizza the Hutt: Where's my money?!"

"Placemat in Diner reads: Spaceballs the Placemat; one of several references to film merchandising."

"Newsman: On a sadder note, Pizza the Hutt was found dead earlier today in the back seat of his stretch limo. Evidently, the notorious gangster became locked in his car and ate himself to death. Coming up, Pongo's review of Rocky 5... Thousand!"

"Vinnie: [To Pizza the Hutt] Mmmmm! You're delicious."

"Princess Vespa: I'm not shooting this thing! I hate guns! [one of the incoming laser blasts singes part of her hair] My hair! He shot my hair! That son of a bitch! [Vespa proceeds to blast every guard Rambo-style]"

"The sign outside the church on Druidia first reads: "TODAY The royal wedding of Princess Vespa to Prince Valium TOMORROW BINGO""

"The sign outside the church on Druidia later reads: "TODAY The royal wedding of Princess Vespa to Prince Valium TAKE TWO""

"The bumper sticker on Spaceball One reads: "WE BRAKE FOR NOBODY""

"The bumper sticker on Eagle 5 reads: "I [heart] URANUS""

"President Skroob's sheet reads: "Spaceballs The Sheet"; yet another reference to film merchandising"

"President Skroob's toilet paper roll reads: "Spaceballs The Toilet Paper" on all the sheets."

"The license plate on Vespa's Mercedes reads: "SPOIL'D ROTT'N 1""

"The towel seen when Lone Starr and Dark Helmet fight reads: "Spaceballs the Towel""

"May The Schwartz Be With You."

"Once Upon A Time Warp In Deep Space, The Struggle Between The Nice & The Rotten Goes On..."

"Revenge Of The Schtick"

"OH NO! A SEQUEL MOVES!"

"Schwartz v.s Gremlins."

"Guess Who's Back?"

"Coming Soon....ish?!"

"Mel Brooks - President Skroob/Yogurt"

"Rick Moranis - Dark Helmet"

"Bill Pullman - Lone Starr"

"Daphne Zuniga - Princess Vespa"

"John Candy - Barfolemew 'Barf'"

"George Wyner - Colonel Sandurz"

"Joan Rivers - Dot Matrix (voice)"

"Dick Van Patten - King Roland"

"Michael Winslow - Radar Technician"

"Lorene Yarnell - Dot Matrix"

"John Hurt - Kane"

"Sal Viscuso - Radio Operator"

"Ronny Graham - Minister"

"Jim J. Bullock - Prince Valium"

"Leslie Bevis - Commanderette Zircon"

"Jim Jackman - Major Asshole"

"Dom DeLuise - Pizza the Hutt (voice)"

"Note: Bolded line is ranked #15 in AFI's 100 Years...100 Movie Quotes"

"He is afraid. He is alone. He is three million light years from home."

"His adventure on Earth."

"The mystery. The suspense. The adventure. The call... that started it all."

"The story that touched the world!"

"Twenty years ago, one legacy, one touch, one story that touched the world."

"Dee Wallace - Mary Taylor"

"Peter Coyote - Keys, Head Scientist"

"Robert MacNaughton - Michael Taylor"

"Drew Barrymore - Gertie Taylor"

"Henry Thomas - Elliott Taylor"

"K.C. Martel - Greg"

"Sean Frye - Steve"

"C. Thomas Howell - Tyler"

"Erika Eleniak - Pretty Young Girl"

"Pat Welsh - E.T. (voice)"

"w:Anne Lockhart - Nurse"

"I wanted to thank you for bringing E.T. to the White House. We really enjoyed your movie. And there are a number of people in this room who know that everything on that screen is absolutely true."

"In the late 60s, there was a big probability of Satyajit Ray coming down to Hollywood to shoot The Alien based on his own short story which appeared in the then popular Bengali magazine, Sandesh. The film was to be produced by 20th Century Fox and Hollywood was waiting to embrace Ray with open arms. Alas! Due to some dirty politics played by unknown quarters, Ray's Hollywood dream had to be shelved. I have no qualms in admitting that Spielberg's E.T. was influenced by Ray's Alien. Even Sir Richard Attenborough pointed this out to me."

"Danny, I'm having a party this weekend. [pauses a beat] How would you like to come over and mow my lawn?"

"I have a little poem I'd like to read in honor of this occasion, if I may. Spaulding, get your foot off the boat."

"[impatiently waits for Danny's final putt] WELL? WE'RE WAITING."

"[standing in an ornamental flowerbed] What an incredible Cinderella story! This unknown, comes out of nowhere, to lead the pack at Augusta. He's at the final hole. He's about 455 yards away, he's gonna hit about a 2-iron, I think. [swings, pulverizes a flower] Oh, he got all of that. The crowd is standing on its feet here at Augusta. The normally reserved Augusta crowd is going wild... [pauses] for this young Cinderella who's come out of nowhere. He's got about 350 yards left, he's going to hit about a 5-iron, it looks like, don't you think? He's got a beautiful backswing... [swings, pulverizes another flower] that's- oh, he got all of that one! He's gotta be pleased with that! The crowd is just on its feet here. He's a Cinderella boy. Tears in his eyes, I guess, as he lines up this last shot. He's got about 195 yards left, and he's got a, looks like he's got about an 8-iron. This crowd has gone deadly silent... Cinderella story, out of nowhere, former greenskeeper, now about to become the Masters champion. [swings, pulverizes yet another flower] It looks like a mirac- it's in the hole! It's in the hole!"

"License to kill gophers by the government of the United Nations. Man, free to kill gophers at will. To kill you must know your enemy, and in this case, my enemy is a varmint. And a varmint will not quit, ever. They're like the Viet Cong. Varmint Cong. So what you gotta do is, you gotta fall back on superior firepower, and superior intelligence. And that's all she wrote."

"I have to laugh, because I've outsmarted myself. My foe, my enemy, is an animal, and in order to conquer him, I have to think like an animal, and, whenever possible, to look like one. I've gotta get inside this dude's pelt and crawl around for a few days."

"[Walking up to a gopher hole, dragging a giant water hose between his legs] Great big gobs of greasy, grimy gopher guts. How about a nice, cool drink, varmints? [puts the nozzle down the hole] Scum! Slime! Menace to the golfing industry! You're a disgrace and you're varmints. You're one of the lowest members of the food chain and you'll probably be replaced by the rat. Well, I have been pushed. I think it's about time that somebody teaches these varmints a little lesson about morality and about what it's like to be a decent, upstanding member of a society! Come to Carl, varmint. Come to Carl. [sticks his hand down the hole and flips off the gopher which bites him in return] Ah! Okay, I guess we're playing for keeps now. I guess the kidding around is pretty much over, huh? I guess it's just a matter now of pumping about fifteen thousand gallons of water down there to teach you a little bit of a lesson, is that it? I think it is!"

"This is a hybrid. This is a cross, ah, of Bluegrass, Kentucky Bluegrass, Featherbed Bent, and Northern California Sensemilia. The amazing stuff about this is, that you can play 36 holes on it in the afternoon, take it home and just get stoned to the bejeezus-belt that night on this stuff."

"I smell varmint poontang. And the only good varmint poontang is dead varmint poontang, I think."

"At last, a comedy that bites!"

"Some People Just Don't Belong."

"The Snobs Against The Slobs!"

"Playing A Round Of Golf At The Bushwood Club Isn't Just Confined To The Golf Course!"

"At last, a comedy with balls!"

"Chevy Chase - Ty Webb"

"Rodney Dangerfield - Al Czervik"

"Ted Knight - Judge Elihu Smails"

"Michael O'Keefe - Danny Noonan"

"Bill Murray - Carl Spackler"

"Sarah Holcomb - Maggie O'Hooligan"

"Scott Colomby - Tony D'Annunzio"

"Cindy Morgan - Lacey Underall"

"Dan Resin - Dr. Beeper"

"Henry Wilcoxon - The Bishop"

"We're so glad to see so many of you lovely people here tonight. And we would especially like to welcome all the representatives of Illinois's law enforcement community who have chosen to join us here in the Palace Hotel Ballroom at this time. We do sincerely hope you all enjoy the show. And please remember, people, that no matter who you are and what you do to live, thrive and survive, there are still some things that make us all the same. You. Me. Them. Everybody. Everybody."

"Curtis: Boys, you gotta learn not to talk to nuns that way."

"Claire: [When asked what music is played at Bob's Country Bunker] Oh we got both kinds. We got Country and Western."

"Police Dispatcher: Use of unnecessary violence in the apprehension of the Blues Brothers has been approved."

"Sister Mary Stigmata: You two are such a disappointing pair! I prayed so hard for you both. It saddens and hurts me that the two young men whom I raised to believe in the Ten Commandments have returned to me as two thieves with filthy mouths, disgusting lies and bad attitudes. Get out! And don't come back...until you've redeemed yourselves."

"Illinois Nazi Party Leader: White men! White women! The swastika is calling you! The sacred and ancient symbol of your race since the beginning of time! The Jew is using the black as muscle against you! And you are left there, helpless. Well? What are you gonna do about it, whitey? Just sit there? Of course not! You are going to join with us! The members of the American Socialist White People's Party. An organization of decent law-abiding white folk, just like you."

"They'll never get caught. They're on a mission from God."

"They're back."

"The most dangerous combination since nitro and glycerine."

"The show that really hits the road."

"A briefcase full of blues."

"John Belushi - 'Joliet' Jake Blues"

"Dan Aykroyd - Elwood Blues"

"James Brown - Reverend Cleophus James"

"Ray Charles - Ray"

"Aretha Franklin - Mrs. Murphy"

"- Steve 'The Colonel' Cropper"

"- Donald 'Duck' Dunn"

"- Murphy 'Murph' Dunne"

"- Willie 'Too Big' Hall"

"- Tom 'Bones' Malone"

"- 'Blue Lou' Marini"

"- Matt 'Guitar' Murphy"

"- Alan 'Mr. Fabulous' Rubin"

"Paul Reubens - Chez Paul Waiter"

"Carrie Fisher - Mystery Woman"

"- Head Nazi"

"- Burton Mercer"

"- Sister Mary Stigmata (a.k.a. The Penguin)"

"- Maury Sline"

"Twiggy - Chic Lady"

"- Corrections Officer"

"Charles Napier - Tucker McElroy"

"Steven Spielberg - Cook County Assessor's Office Clerk"

"Shut up Ted."

"Be excellent to each other."

"Party on dudes!"

"[first lines] Hi. Welcome to the future: San Dimas, California - 2688. And I'm telling you, it's great here. The air is clean. The water is clean. Even the dirt is clean! Bowling averages are way up. Mini-golf scores are way down, and we have more excellent water slides than any other planet we communicate with. I'm telling you, this place is great, but it almost wasn't. You see, seven hundred years ago, the Two Great Ones ran into a few problems. So now I have to travel back in time to help them out. If I should fail to keep these two along the correct path, the basis of our society will be endangered. Ah, but don't worry: it'll all make sense. I'm a professional."

"History is about to be rewritten by two guys who can't spell..."

"Time flies when you're having fun."

"Party on, dudes!"

"Brace yourself amigos for a most triumphant video! (UK VHS box)"

"The funniest comedy in the history of history."

"Keanu Reeves - "Ted" Theodore Logan"

"Alex Winter - Bill S. Preston, Esq."

"George Carlin - Rufus"

"Terry Camilleri - Napoleon"

"Dan Shor - Billy the Kid"

"Tony Steedman - Socrates"

"Rod Loomis - Dr. Sigmund Freud"

"Al Leong - Genghis Khan"

"Jane Wiedlin - Joan of Arc"

"Robert V. Barron - Abraham Lincoln"

"Clifford David - Ludwig van Beethoven"

"Lesbian Nazi hookers abducted by UFOs and forced into weight-loss programs, all this week on Town Talk!"

"Sex with furniture, what do you think?"

"Look up! Look down! Now look at Mr. Frying Pan! [George conks Bobbo in the face with the frying pan] Uh-oh. Bobbo fall down go boom. Uuupsy-daisy...Aw, what's wrong, Bobbo? I bet I know! You're hungry, aren't you? [Bobbo honks his horn weakly] Have I got just the thing for you! Yes sir, clowns AND kids alike just can't resist the mouth-watering, lip-smacking taste of Mrs. Hackenberger's Butter Cookies! [He proceeds to stuff Bobbo's face with "cookies," which are actually dog biscuits; George has picked up the wrong box!!] Right, Bobbo? That's right! And guess what, Mom? They're nutritious, too! Just look at how much Bobbo here likes 'em! [cut to a revolted Bobbo] Mmmm, THAT'S GOOOOOD!! [Bobbo looks ready to vomit] And don't forget folks, there's a nifty surprise inside every box of Mrs. Hackenberger's...[notices his mistake for the first time] Heh Heh Heh, UH-OHHH!! [Bobbo turns and glares at Uncle Nutzy as if to say "WHAT Uh-Oh?!?"] Bobbo's been eating...YAPPY'S DOG TREATS!! [a look of horror crosses Bobbo's face, and he runs off to the "little clowns' room."] That's right, Yappy's Dog Treats! Your dog will love that real liver-and-tuna taste... [We hear Bobbo vomiting]... With just a hint of cheese...!"

"You gotta grab life by the lips and YANK as hard as you can."

"Oh, no. What time is it!? [arm with a watch breaks through the wall, George looks at the watch] Seven THIRTY!?"

"[to Satan] Oh, shut up, you pinhead! You make me SICK!"

"Right now I'd like to show you one of my favorite cartoons. It's a sad, depressing story about a pathetic coyote who spends every waking moment of his life in the futile pursuit of a sadistic roadrunner who MOCKS him and LAUGHS at him as he's repeatedly CRUSHED and MAIMED! [almost tearfully] Hope you ENJOY IT!!!"

"[Message left on Teri's answering machine] Teri! I'm sorry! Come on give me one more chance please! Come on Teri! Teri! Oh Oh I'm in hell! I'M IN HELL!! TERI TERI PICK UP THE PHONE!! PICK UP THE PHONE!! PICK UP THE PHONE!!! OH OH TERI!!!!!! PLE-HE-HE-HE-HEASE!"

"[while sculpting a plate of mashed potatoes] This means something. This is important!"

"WE DID IT! THE STATION'S OURS!!"

"[Grinning] This is my new mop. My friend George, he gave me this mop. It's a pretty good mop. It's not as good as my old mop, I miss my old mop. But it's still a good mop. Sometimes, you gotta take what life gives you, 'cause life is like a mop. And sometimes, life gets full of dirt and crud and bugs and hairballs and stuff, but you've got to clean it out. You gotta put it in here and rinse it out and start all over again. And sometimes, life sticks to the floor so bad a mop isn't good enough. It's not good enough. You gotta get down here with, like, a toothbrush or something, and really scrub, and if that doesn't work, if that doesn't work...you can't give up. You've got to run a window and yell, "HEY! THESE FLOORS ARE AS DIRTY AS HELL , AND I'M NOT GOING TO TAKE IT ANYMORE!!!""

"Oh, Joel Miller, you just found the marble in the oatmeal! You're a very, very, very lucky little boy. You know why? You get to drink from...THE FIRE HOOOOOSE!!!"

"I'm thinkin' of something orange. Something orange. Give up? It's an orange. [laughs] Ok, now I'm thinkin' of something blue. Something bluuuuuue. [singing] DUN-DADA-DUN-DADA-DUN-DADA-DUN-DADA DAA DAAAAA!! [Thugs push him into the closet] Don't you like Bonanza?!"

"This is pretty good watermelon...[pauses and considers]...Tastes like poop. I'm gonna eat some Corn Flakes.[grabs box of Corn Flakes] These are pretty good...WHOA!! Free toy inside! Free toy inside!! Let's find it. [rummages his hand in the box] Don't let your mom know that you do this."

"Watch out, Mr. Coyote... Aww."

"This is a business, not a home for irresponsible pus-brains!"

"(The broadcast which gets Channel 8 shut down by the FCC) This community means about as much to me as a festering bowl of dog snot!! You think I CARE about the pea-brained yokels of this town?! If you took their combined I.Q., and multiplied it by a hundred, you might have enough intelligence to tie your shoe, if you didn't drool all over yourself first!! I can't stand those sniveling maggots. They make me want to puke. But, there is one good thing about broadcasting to a town full of mindless sheep. I always know I have them exactly where I want them. Ha, ha, ha, ha, ha!!!"

"[speaking to the crowd at the telethon] Dear friends, I'm sure that one day you realize that by shutting down this hotbed of subversive activity..."

"Not many people know this, but the turtle is nature's suction cup. [licks the bottom of a turtle, throws it towards the ceiling] Look. It sticks."

"This is my ant farm. These little guys can lift fifty times their own weight. They also spend weeks digging these intricate little tunnels. And oh yeah, they really hate it when you do this! [Raul picks up the ant farm and shakes it] Oh look! They're really mad now!"

"For those of you just joining us, today we're teaching poodles how to fly."

"Badgers? Badgers? We don't need no stinking badgers!"

"Crazy Ernie: If nobody comes down here and buys a car in the next hour, I'm gonna club this baby seal! That's right. I'm gonna club this seal to make a better deal. You know I'll do it, too, cause I'm crazy!"

"Richard Fletcher: [sarcastically, after having tripped up Noodles Macintosh] Awwwww, did I do that? Oopsie!"

"Joe Earley: [after cutting off a finger with a table saw] Can you believe this?! Would you look at that! Just call me "Mr. Butterfingers"! I think it's on the floor somewhere. Is my face red."

"Sy Greenblum: [In the "Spatula City" advertising commercial] Hello, this is Sy Greenblum, president of Spatula City. I like the spatulas so much, I bought the company."

"Earl Ramsey: Gun control is for wimps and commies. Listen, let's get one thing straight. Guns don't kill people; I do!"

"Teri: George Newman, you are a thoughtless, insensitive CREEP! From now on you can forget all my birthdays, because WE'RE THROUGH!"

"Philo: Hello, my name is Philo and welcome to...[unfolds a piece of paper with the title written on it; recites title with echo effect] Secrets Of The Universe. [folds paper back up] Today we are going to learn how to make plutonium from common household items."

"Young book customer: [in a preview for "Conan the Librarian"] These books are a little overdue. [Conan slices him in two!!]"

"Gandhi: Give me a steak, medium-rare."

"Kuni (and other karate experts): SUH-PLIIEES!!"

"Noodles Macintosh: [having just vengefully stuck a foot out and tripped up Richard Fletcher, now throwing Richard Fletcher's sarcasm right back at him] Awwww... did I do that? Oopsie!"

"TV as it was meant to be seen. In a movie theater."

"A lot of TV stations have forgotten what "quality" means. But not Channel 62. They NEVER knew what it meant."

"It's crazy. It's zany. It's hysterical. It's TV according to "Weird Al" Yankovic."

"Like I told my last wife, I says, "Honey, I never drive faster than I can see." Besides that, it's all in the reflexes."

"Just listen to the ol' "Porkchop Express" and take his advice on a dark and stormy night, alright? When some wild-eyed, eight-foot-tall maniac grabs your neck, taps the back of your favorite head up against the barroom wall, looks you crooked in the eye, and asks you if you paid your dues; you just stare that big sucker right back in the eye, and you remember what ol' Jack Burton always says at a time like that: "Have you paid your dues, Jack?" "Yes, sir, the check is in the mail.""

"I'm not saying I've been everywhere, and I've done everything. But I do know this is a pretty amazing planet we live on here. And a man would have to be some kind of fool to think we're all alone in this universe."

"Which Lo Pan? Little ol’ basketcase on wheels, or the ten-foot-tall roadblock?!"

"Would you stop rubbing your body up against mine? Because I can’t concentrate when you do that..."

"What does that mean? huh? ‘China is here?’ I don’t even know what the hell that means! All I know is this Lo Pan character comes out of thin air in the middle of a goddamned alley, while his buddies are flying around on wires, cutting everybody to shreds...and he just stands there, waiting for me to drive my truck straight through him?! With LIGHT coming out of his mouth?!"

"Look, I'm going to tell you about an accident and I don't wanna hear "act of God," okay?"

"Sit tight, hold the fort, keep the home fires burning. And if we're not back by dawn...call the president."

"Everybody relax, I'm here."

"Ol' Jack always says...what the hell?"

"Just remember what ol' Jack Burton does when the earthquakes and the poison arrows fall from the sky, and the pillars of Heaven shake. Yeah, Jack Burton just looks that big ol' storm right in the eye and says "Give me your best shot. I can take it.""

"Mr. Burton, if you have an influence over your youthful friend, you'd better exert it now! Otherwise, I will have both of you rowed off to the hell where people are skinned alive! It's that simple, understand?!"

"This place is my tomb. I'm buried here. A young man, a king, a warrior, is entombed in this old man's crippled body. And all I need is a woman, Mr. Burton — a special kind of woman with dragon-green eyes — to make me whole and young again, so that I may rule the universe from beyond this grave!"

"There are always others, are there not? You seem to be one who knows the difficulties between men and women, how seldom it works out. And yet we all keep trying, like fools!"

"Who are these people? Friends of yours, huh?! Now this really pisses me off to no end!"

"Oh, Miao Yin. I need you Miao Yin — you whose eyes flash like emerald lightning. Ching Dai! Make me flesh again soon."

"Some people pick the darnedest places to start a fight!"

"Adventure doesn't come any bigger!"

"Try to find big reason before you visit world of magic..."

"Jack Burton's in for some serious trouble, and you're in for some serious fun."

"A Mystical, Action, Adventure, Comedy, Kung Fu, Monster, Ghost Story!"

"[from trailer] They told him to go to Hell - and that's just where he's going!"

"[from trailer] Jack Burton's coming to rescue your summer!"

"Kurt Russell - Jack Burton"

"Kim Cattrall - Gracie Law"

"Dennis Dun - Wang Chi"

"Suzee Pai - Miao Yin"

"James Hong - David Lo Pan"

"Victor Wong - Egg Shen"

"Kate Burton - Margo"

"Donald Li - Eddie Lee"

"Carter Wong - Thunder"

"Frank Welker - voice of The Wild Man, and The Eye"

"[reads newspaper] "Winged freak terrorizes". Wait till they get a load of ME!"

"Batman? Batman? Can somebody tell me what kind of a world we live in where a man dressed up as a bat gets all of my press?! This town needs an enema!"

"[in TV ad] New and improved Joker products! With the new secret ingredient - Smylex! Now, let's go over to our blind taste test. Uh-oh. He don't look happy. He's been using Brand X! [extends X sound as a hiss] But with new and improved Joker brand...I get a grin, again and again! That luscious tan! Those ruby lips! And hair color so natural, only your undertaker knows for sure! I know what you're saying: 'Where can I get these fine new items?' Well, that's the gag. Chances are, you've bought 'em already! So remember, put on a happy face!"

"[addressing Gothamites] And now, folks, it's time for "Who do you trust!" Hubba, hubba, hubba! Money, money, money! Who do you trust? Me? I'm giving away free money. And where is the Batman? He's at home, washin' his tights! [he and the crowds laugh; looks up into the sky and sees the Batwing] Winged bat flies through the night and finds me ready. [to Bob the Goon] Bob, Mask. [to crowd in the street as the other goons prepare their own gas masks and he brings out a radio transmitter] And now comes the part where I relieve you, the little people, of the burden of your failed and useless lives. But, as my plastic surgeon always said, If you've gotta go, go with a smile!"

"There was no guarantee that any of this was going to play correctly when it was all said and done. There had never been a movie like it before. There was a lot of risk, too, with Jack looking the way he did and me stepping out in this new way. The pressure was on everybody. You could feel it."

"We're standing there at one point, I'm in my bat suit, Jack is in Joker get-up and I just looked at him and said, 'We're grown men, right?'tq5 125325"

"I'll always stand by the first Batman. Even for its imperfections, people will never know how hard that movie was to do. A lot of that still holds up."

"I really wanted desperately to obviously do Two-Face… I wanted to see what I could do with it. It would have been different from Tommy Lee's. I've got my own kind of madness."

"Only one will claim the night."

"Justice is always Darkest before the Dawn."

"Michael Keaton - Batman/Bruce Wayne"

"Jack Nicholson - The Joker/Jack Napier"

"Kim Basinger - Vicki Vale"

"Robert Wuhl - Alexander Knox"

"Pat Hingle - Commissioner James Gordon"

"Billy Dee Williams - Harvey Dent"

"Michael Gough - Alfred Pennyworth"

"Jack Palance - Carl Grissom"

"Jerry Hall - Alicia Hunt"

"Tracey Walter - Bob the Goon"

"Lee Wallace - The Mayor"

"William Hootkins - Lt. Max Eckhardt"

"Edwin Craig - Antoine Rotelli"

"Lunch? Aw, you gotta be kidding. Lunch is for wimps."

"The most valuable commodity I know of . . . is information."

"The public's out there throwing darts at a board, sport. I don't throw darts at a board – I bet on sure things."

"What's worth doing is worth doing for money."

"[Pointing to a homeless man and a businessman standing on a street corner] You gonna tell me the difference between that guy and this guy is luck?"

"When I get a hold of the son of a bitch who leaked this, I'm gonna tear his eyeballs out and I'm gonna suck his fucking skull."

"Ever wonder why fund managers can't beat the S&P 500? 'Cause they're sheep, and sheep get slaughtered. I been in the business since '69. Most of these Harvard MBA types, they don't add up to dog shit. Gimme guys who are poor, smart and hungry. And no feelings. You win a few, you lose a few, but you keep on fighting . . . and if you need a friend, get a dog."

"Wake up, will ya, pal? If you're not inside, you're outside, okay? And I'm not talking a $400,000 a year working Wall Street stiff flying first class and being comfortable, I'm talking about liquid. Rich enough to have your own jet. Rich enough not to waste time. Fifty, a hundred million dollars, buddy. A player, or nothing. Now, you had what it took to get into my office; the real question is whether you got what it takes to stay."

"[As the market opens] We're off and running!"

"You know what's my dream? To someday be on the other end of that phone."

"[After Gekko buys stock from him] WOO! I JUST BAGGED THE ELEPHANT, BABY!!"

"There's no nobility in poverty."

"[Walks in to SEC agents waiting in his office] I guess you're not here to open an IRA..."

"Kid, you're on a roll. Enjoy it while it lasts, because it never does."

"The problem with money, Bud—it makes you do things you don't want to do."

"I wanted to explore the new Wall Street. When I was writing Scarface in Miami, there was so much coke around and so many lunatics, and I met so many kids from Wall Street who were millionaires. I thought older men were rich, but here were these kids, 25 or 28 or 35 years old, with millions of dollars playing the markets all over the world around the clock. My father would have been shocked by the new electronics that allowed it…. Dad was a stockbroker on Wall Street when there was more integrity and class."

"Wall Street was an extension of Scarface."

"This is about getting into a corporation, screwing it up, putting in poison pills so your competitor can’t swallow it…. Very intricate game played in the 1980’s…. Mike Milken did it with junks bonds, Drexel Burnham."

"I’m ambivalent. I like Gekko, which is partly why Michael Douglas did so well…. Gekko is despicable but kinda fun too."

"Money never sleeps."

"All these Wall Street lawyers are running the system according to Buckminster Fuller. After World War II they took most of the money out of the United States, they drained the blood out of the United States and put it abroad, overseas capital…. Fuller calls it Lawyer Capitalism, the lawyers run the show. Tax laws are the key. In the postwar years, tax law allowed US capital to go abroad…. It all fled the country and stayed abroad and America changed tremendously…. We became a world power, yet a rapacious one, with capitalists really doing a major theft of our money…. Nixon took us off the Gold standard in 1972 because America went bankrupt…. All these recessions in the 70’s, 80’s…. My father got wiped out on Wall Street."

"It’s funny to read articles about Gordon Gekko as if he exists…. If you really listen to Gekko’s speech, half of it makes sense…. But it’s the excess, losing moderation, that destroys all…. There is nothing inherently wrong with greed as a human motivator, greed motivating evolution…. But there’s a huge disconnect between the classes. It is very demoralizing to work for someone who makes a billion dollars a year while you make just barely enough to make it."

"Greed is good. Taken from Ivan Boesky’s speech saying ‘Greed is right.’… Gekko says he wrecks it ‘because it is wreckable.’ There is an impulse in Gekko to take, to rape…. Kirk Kerkorian destroyed MGM and UA…. Buy both companies and destroy both. And that was the end of the movie business. UA and MGM were two great film companies. Suddenly they were one lousy company. Kerkorian did it for the money, like Gekko. He didn’t care about film. Never. He sold it off in pieces. He cannibalized it. Just like Gekko. These guys do what suits their short-term."

"Zero sum game implies winners and losers. If somebody wins, somebody gotta lose…. I don’t agree with that. Because all boats can rise on a rising sea. Good films help other good films. Different psychology. If you’re overly competitive, you say it is exclusionary, a zero sum game: I must win so he must lose. That’s not true. We can all win without forcing the other guy to lose."

"Balzac was right…. There is tremendous jealousy about money."

"I leave Bud Fox in the canyons of Wall Street, just another ant, one of millions of ants…. We’re all absorbed in this system of capitalism…. You join the collective unconscious."

"Michael Douglas – Gordon Gekko"

"Charlie Sheen – Bud Fox"

"Daryl Hannah – Darien Taylor"

"Martin Sheen – Carl Fox"

"John C. McGinley – Marvin"

"James Karen – Harry Lynch"

"Hal Holbrook – Lou Mannheim"

"Terence Stamp – Sir Larry Wildman"

"Sean Young – Kate Gekko"

"James Spader – Roger Barnes"

"Saul Rubinek – Harold Salt"

"Franklin Cover – Dan"

"Sylvia Miles – Dolores the Realtor"

"Millie Perkins – Mrs. Fox"

"Josh Mostel – Ollie"

"Paul Guilfoyle – Stone Livingstone"

"We don't read and write poetry because it's cute. We read and write poetry because we are members of the human race. And the human race is filled with passion. And medicine, law, business, engineering, these are noble pursuits and necessary to sustain life. But poetry, beauty, romance, love, these are what we stay alive for. To quote from Whitman, "O me! O life!... of the questions of these recurring; of the endless trains of the faithless, of cities fill'd with the foolish…what good amid these, O me, O life? Answer. That you are here—that life exists, and identity, that the powerful play goes on, and you may contribute a verse." That the powerful play goes on, and you may contribute a verse. What will your verse be?"

"When you read, don't just consider what the author thinks, consider what you think."

"There's a time for daring and there's a time for caution, and a wise man understands which is called for."

"No matter what anybody tells you, words and ideas can change the world."

"They're not that different from you, are they? Same haircuts. Full of hormones, just like you. Invincible, just like you feel. The world is their oyster. They believe they're destined for great things, just like many of you, their eyes are full of hope, just like you. Did they wait until it was too late to make from their lives even one iota of what they were capable? Because, you see gentlemen, these boys are now fertilizing daffodils. But if you listen real close, you can hear them whisper their legacy to you. Go on, lean in. Listen, you hear it? - - Carpe - - hear it? - - Carpe, carpe diem, seize the day boys, make your lives extraordinary."

"Boys, you must strive to find your own voice. Because the longer you wait to begin, the less likely you are to find it at all. Thoreau said, "Most men lead lives of quiet desperation." Don't be resigned to that. Break out! Break out! Now is the time!"

"[Last words of film] Thank you, boys. Thank you."

"[at Neil's ceremony] The death of Neil Perry is a tragedy. He was a fine student. One of Welton's best. And he will be missed. We've contacted each of your parents to explain the situation. Naturally, they're all quite concerned. At the request of Neil's family, I intend to conduct a thorough inquiry into this matter. Your complete cooperation is expected."

"He was their inspiration. He made their lives extraordinary."

"Robin Williams — John Keating"

"Robert Sean Leonard — Neil Perry"

"Ethan Hawke — Todd Anderson"

"Josh Charles — Knox Overstreet"

"Gale Hansen — Charlie Dalton"

"Norman Lloyd — Headmaster Dean Nolan"

"Kurtwood Smith — Mr. Perry"

"Dylan Kussman — Richard Cameron"

"Allelon Ruggiero — Steven Meeks"

"Alexandra Powers — Chris Noel"

"You ain't so bad, you ain't so bad, you ain't nothin'. C'mon, champ, hit me in the face! My mother hits harder than that!"

"Nothing is real if you don't believe in who you are!"

"The legend continues...The Italian Stallion is back!!"

"His life is happy, his fights have seemed easy. Now a young upstart is going to make him prove just how far he can still go..."

"A Fighter. A Lover. A Legend. The Greatest Challenge."

"The Excitement... The Power... The Man..."

"The greatest challenge."

"Sylvester Stallone as Rocky Balboa"

"Talia Shire as Adrian Balboa"

"Burt Young as Paulie Pennino"

"Carl Weathers - Apollo Creed"

"Burgess Meredith - Mickey Goldmill"

"Tony Burton - Tony "Duke" Evers"

"Mr. T - Clubber Lang"

"Ian Fried as Rocky Balboa, Jr."

"Hulk Hogan - Thunderlips"

"[Grabbing an expensive vase during a marital spat] Our marriage lies broken on the floor, like the shards of glass on our honeymoon suite! [He slams the vase to the ground, but it bounces back up into his hands.] Ahhh! Oh-ho! 19th-Century Indian rubber vase, eh?!"

"[After Dolores finally consummates her marriage to Dr. Hfuhruhurr…] I never knew it could be like that! [sighs] So… so… professional!"

"So funny you'll laugh your head off."

"DANGER: HEALTH WARNING: Watching This Movie May Cause Severe Brain Damage"

"Steve Martin Is A World Famous Surgeon. He Invented Screw Top, Zip Lock Brain Surgery. Trust Him."

"Steve Martin - Dr. Michael Hfuhruhurr"

"Kathleen Turner - Dolores Benedict"

"David Warner - Dr. Alfred Necessiter"

"Paul Benedict - Dr. Necessiter's butler"

"George Furth - Timon"

"Peter Hobbs - Dr. Brandon"

"Earl Boen - Dr. Felix Conrad"

"Randi Brooks - Fran"

"James Cromwell - realtor"

"Francis X. McCarthy - Olsen"

"Estelle Reiner - tourist in elevator"

"Merv Griffin - himself"

"Jeffrey Combs - Dr. Jones"

"Sissy Spacek - Anne Uumellmahaye (voice; uncredited)"

"It's the purest plutonium in the universe. Pretty, isn't it?"

"I just happen to have access to one of the sexiest lasers in the entire free world."

"You try to tough it out with them, they'll lock you in a room and throw away the room."

"Oh, what did you want us to do? Put up a neon sign that says 'Secret Weapons Laboratory'?"

"[as they are about to disarm the bomb] Anybody want to make a bet?"

"I never thought I'd say this to anyone, but I gotta go get the atomic bomb from out of the car."

"Hey, Mister, I betcha can't guess what I've got in this box. An atomic bomb."

"[after being drugged] Jenny. I love you, Jenny. I wanna be your wife."

"You mean I'm gonna die because some asshole didn't bring a pair of pliers?"

"Student: [about Paul] What's the problem? Was he sexually abusing the hamsters or something?"

"Paul Stevens' high school science project has gotten a little out of hand. He just built an atomic bomb. Now he's got 11 hours to make sure it doesn't work."

"The switch is set... The clock has started... Time's running out!"

"John Lithgow - Dr. John Mathewson"

"Christopher Collet - Paul Stephens"

"Cynthia Nixon - Jenny Anderman"

"Jill Eikenberry - Elizabeth Stephens"

"John Mahoney - Lt. Colonel Conroy"

"Robert Sean Leonard - Max"

"Richard Jenkins - Miles"

"Gregg Edelman - Science Teacher"

"A lot of people don't realize what's really going on. They view life as a bunch of unconnected incidents and things. They don't realize that there's this, like, lattice of coincidence that lays on top of everything. Give you an example, show you what I mean: suppose you're thinkin' about a plate of shrimp. Suddenly someone'll say, like, "plate," or "shrimp," or "plate of shrimp" out of the blue, no explanation. No point in lookin' for one, either. It's all part of a cosmic unconsciousness."

"There ain't no difference between a flying saucer and a time machine. People get so hung up on specifics they miss out on seeing the whole thing. Take South America for example. [In] South America, thousands of people go missing every year. Nobody knows where they go, they just, like, disappear. But if you think about it for a minute, you realize something. There had to be a time when there was no people, right? Well where did all these people come from, huh? I'll tell you where. The future. And where did all these people disappear to? [Otto: The past?] That's right! And how did they get there? Flying saucers. Which are really..? Yeah, you got it, time machines. I think a lot about this kind of stuff."

"The more you drive, the less intelligent you are."

"Beautiful evening. You can almost see the stars!"

"Ra-di-a-tion. Yes, indeed. You hear the most outrageous lies about it. Half-baked goggle-box do-gooders telling everybody it's bad for you. Pernicious nonsense! Everybody could stand a hundred chest X-rays a year! They oughta have 'em, too."

"[While watching the Circle Jerks grind out a slow, swinging version of the normally raucous "When the Shit Hits the Fan"] I can't believe I used to like these guys!"

"Emilio Estevez - Otto Maddox"

"Harry Dean Stanton - Bud, Repo man"

"Olivia Barash - Leila"

"Tracy Walter - Miller, Repo lot groundskeeper"

"Sy Richardson - Lite, Repo man"

"Tom Finnegan - Oly, Repo man"

"Fox Harris- J. Frank Parnell"

"Susan Barnes - Agent Rogersz"

"...It's 4 A.M., do you know where your car is?"

"Meet Otto. He's a clean-cut kid in a dirty business. He's a Repo Man. He steals cars legally. Now, he's out to repossess a '64 Chevy Malibu...with an amazing reward of $20,000. But Otto is not alone. There are others who want the car and will do anything to get it. The risks are great, because hidden in the trunk is something so incredible it could destroy them all. We'll give you a hint... it glows in the dark."

"Had my dream again where I'm making love, and the Olympic judges are watching. I'd nailed the compulsories, so this is it, the finals. I got a 9.8 from the Canadians, a perfect 10 from the Americans, and my mother, disguised as an East German judge, gave me a 5.6. Must have been the dismount."

"[leaving a message for Sally] The fact that you're not answering leads me to believe you're either (a) not at home, (b) home but don't want to talk to me, or (c) home, desperately want to talk to me, but trapped under something heavy. If it's either (a) or (c), please call me back."

"Can two friends sleep together and still love each other in the morning?"

"Can men and women be friends or does sex always get in the way?"

"Billy Crystal — Harry Burns"

"Meg Ryan — Sally Albright"

"Bruno Kirby — Jess"

"Carrie Fisher — Marie"

"Steven Ford — Joe"

"Lisa Jane Persky — Alice"

"Harley Jane Kozak — Helen Helson"

"Estelle Reiner — Older Woman Customer"

"Emergency Transmission. Observation Craft Destroyed. Environment Hostile. Completed Symbiotic Transformation. Rendezvous Third Day Landing Area One."

"I mean you no harm, Jenny Hayden."

"Don't be afraid. I mean you no harm."

"You want to know what kidnapped is? Its being dragged out of your house in the middle of the night, by some … whatever you are — being forced to drive all night with a gun pointed at your side and not knowing where you're going or what's going to happen to you when you get there. So if you're going to shoot me, go ahead — because I'd rather be shot than go on being scared to death."

"Do you seriously expect me to tell the President that an alien has landed, assumed the identity of a dead housepainter from Madison, Wisconsin and is presently out tooling around the countryside in a hopped-up orange and black 1977 Mustang?"

"In 1977 Voyager II was launched into space, inviting all lifeforms in the universe to visit our planet. Get ready. Company's coming."

"He has traveled from a galaxy far beyond our own. He is 100,000 years ahead of us. He has powers we cannot comprehend. And he is about to face the one force in the universe he has yet to conquer. Love."

"Jeff Bridges - Starman/Scott Hayden"

"Karen Allen - Jenny Hayden"

"Charles Martin Smith - Mark Shermin"

"Richard Jaeckel - George Fox"

"Robert Phalen - Major Bell"

"Tony Edwards - Sergeant Lemon"

"John Walter Davis - Brad Heinmuller"

"Ted White - Deer Hunter"

"Dirk Blocker - Cop number 1"

"M. C. Gainey - Cop number 2"

"George Buck Flower - Cook (as Buck Flower)"

"Ralph Cosham - Marine Lieutenant"

"Lu Leonard - Roadhouse waitress"

"Mickey Jones - truck driver"

"[reading obituary] Ooh-la-la, what have we got here? The Maitlands. [laughs] Cute couple. Look nice and stupid, too! [more laughing]"

"Let's turn on the juice and see what shakes loose."

"[calmly] Ah, well, I attended Juilliard, I am a graduate of the Harvard Business School, I travel quite extensively, I lived through the Black Plague and I had a pretty good time during that, [getting aggressively more demented] I've seen The Exorcist about 167 TIMES, AND IT KEEPS GETTIN' FUNNIER EVERY SINGLE TIME I SEE IT! NOT TO MENTION THE FACT THAT YOU'RE TALKIN' TO A DEAD GUY! NOW WHAT DO YOU THINK?! [calmly] You think I'm qualified?"

"[after his head spins] Don't you hate it when that happens?"

"I'll eat anything you want me to eat, I'll swallow anything you want me to swallow, so come on down and I'll...chew on a dog! [howls]"

"Hey, these aren't my rules! Come to think of it, I don't have any rules!"

"YOU BUNCHA LOSERS!!! YOU'RE WORKIN' WITH A PROFESSIONAL HERE!!! [kicks over a tree; quietly observes it for a moment] NICE FUCKIN' MODEL!!!! [grabs his crotch and squeezes it twice with a bike horn sound]"

"Attention, K-Mart shoppers!"

"Thank you. Thank you. That, is why I won't do two shows a night anymore, babe, I won't."

"[to Otho] Not so fast, round boy. We're gonna have some laughs! [Kisses Otho on the cheek and laughs]"

"We come for your daughter, Chuck."

"I'm the ghost with the most, babe."

"Nobody says the "B" word."

"It's showtime!"

"Well...what do we got here tonight, kids? [sees the Maitlands] Oooo, well, we got the, uh, Maitlands. Uh, I think, uh, they've had enough "exorcise" for tonight. [mimes a golf swing and the Maitlands fall onto the floor]"

"[last lines; talking to a witch doctor] Pardon me. [referring to Harry the Hunter] Did you do that? Nice work. Lemme ask you somethin'. How do you get 'em so small? [Distracting the witch doctor] There goes Elvis! Yo, King! [witch doctor looks away, he switches his ticket with witch doctor's] Well, looks like I'm next. Good thing, too. ("

"My whole life is a darkroom. [slowly, for effect] One. Big. Dark. Room."

"[realizing that Adam and Barbara are ghosts] The funeral. God. You guys really are dead."

"Charles, I will not stop living and breathing art just because you need to relax. I'm here with you. I will live with you in this hellhole, but I must express myself. If you don't let me gut out this house and make it my own, I WILL GO INSANE AND I WILL TAKE YOU WITH ME!!!"

"[about Beryl] Don't mind her. She's still upset because someone dropped a house on her sister."

"We're ghosts!"

"Beetlejuice! Beetlejuice! Beetlejuice!"

"I wanted him to be pure electricity, that's why the hair just sticks out. At my house I started creating a walk and a voice. I got some teeth. I wanted to be scary in the look and then use the voice to add a dash of goofiness that, in a way, would make it even scarier. I wanted something kind of moldy to it, too. Tim had the striped-suit idea and we added the big eyes. I think that movie will go forever because it's 100% original."

"In This House... If You've Seen One Ghost... You Haven't Seen Them All."

"He's guaranteed to put some life, in your afterlife."

"Say it once... Say it twice... But we dare you to say it THREE TIMES!"

"The name in laughter from the hereafter."

"Michael Keaton — Betelgeuse"

"Alec Baldwin — Adam Maitland"

"Geena Davis — Barbara Maitland"

"Winona Ryder — Lydia Deetz"

"Catherine O'Hara — Delia Deetz"

"Jeffrey Jones — Charles Deetz"

"Glenn Shadix — Otho"

"Sylvia Sidney — Juno"

"Dick Cavett — Bernard"

"Robert Goulet - Maxie Dean"

"Annie McEnroe - Jane Butterfield"

"I didn't want to do this, but I'm afraid I'm gonna have to pull rank on you. I'm with the Mattress Police. There are no tags on these mattresses."

"Oh, you've remodeled the garage. Must have cost you hundreds."

"[to a Doberman Pinscher] Look, defenseless babies!"

"It was something your wife said while we were in bed together. She said we had the same build. From the waist up I imagine."

"If you haven't guessed, there's been a lot of drug traffic on the beach lately. And I'm not talking about Robitussin and No-Doz...I'm talking about the hard stuff. I've been posing as an amiable, minor league junkie in order to get to the bottom of it. It hasn't been easy. I don't shower much."

"You know, if you shoot me, you're liable to lose a lot of those humanitarian awards."

"...and who would have known that the Vice President knew I was opening the door, but the Secret Service, they just whack [mimes door hitting him in the face] blood..."

"For another grand, I'll let you take me out to dinner."

"[to Gail Stanwyck, who answers the door wearing a towel] Can I borrow your towel? My car just hit a water buffalo."

"I would have been here sooner, but a manure-spreader jackknifed on the Santa Ana. Gawdawful mess. You should see my shoes."

"[after paying his ex-wife's attorney, Fletch walks him to the door] Keep ten for yourself. Go and get yourself a nice piece of ass."

"Hey, don't talk to me that way, assface. I don't work for you yet."

"[server says, "muchas gracias" and Fletch responds] Tierra Del Fuego."

"In the court ruling US vs. Fishbine, a man subjected to potential incineration while wearing another man's suit is entitled to $10,000 worth of airline tickets. It's an obscure ruling, but a very important one. To me."

"[singing] Strangers in the night, exchanging clothing, strangers in my pants..."

"Mr. Stanwyk's parents Marvin and Velma of Provo, were unable to attend the wedding. Those are three names I enjoy; Marvin, Velma, and Provo."

"Hey! I think all of our problems may have just been solved. Ed McMahon. Think I just won a million bucks. Yeahhahhah, Irwin M. Fletcher you choose. Woo wee! Oh boy, I lost. Again. Sorry."

"[Corrupt Police Chief Karlin surprises Stanwyk holding Fletch at gunpoint - said in the dryest manner possible] Thank God. The police."

"Hey that's you and Tommy Lasorda... [smashes picture] I hate Tommy Lasorda."

"Can I call my mother? Tell her how much I love her?"

"Love your body, Larry."

"[narrating] As I pulled up to my palatial, imitation apartment building, I noticed the familiar red Oldsmo-Buick of Mr. Arnold T. Pants, Esquire. Attorney for the former Mrs. Irwin M. Fletcher. Time to use the service entrance."

"Meet the only guy who changes his identity more often than his underwear."

"Fletch. Until last week, he was just another mild-mannered reporter fighting for truth, justice and a window office. Now he's being threatened, shot at, accused and arrested. And that's by the people he's trying to help. But there's still one thing even more dangerous than his work. His love life."

"Chevy Chase - Irwin M. 'Fletch' Fletcher"

"Joe Don Baker - Police Chief Jerry Karlin"

"Dana Wheeler-Nicholson - Gail Stanwyk"

"Richard Libertini - Frank Walker"

"Tim Matheson - Alan Stanwyk"

"M. Emmet Walsh - Dr. Joseph Dolan"

"George Wendt - Fat Sam"

"Kenneth Mars - Stanton Boyd"

"Geena Davis - Larry"

"Well I'm gonna park the cars and get the luggage, and well, I'll be outside for the...season."

"[as an entourage of suits - led by Clark's boss - passes by single file] Merry Christmas. Merry Christmas, Merry Christmas, Merry Christmas, kiss my ass. Kiss his ass. Kiss your ass. Happy Hanukkah."

"[the newel post is wobbly, so Clark cuts it off with a chain saw] Fixed the newel post."

"LOTTA SAP in here. [spits then give an "okay" sign] Looks great! Little full, Lotta sap!"

"[handing Christmas lights to Russ] Unravel these. We need to check every bulb. [pulls out a huge tangle of lights] Oop. Little knot here, you can work on that. [hands it to Russ]"

"I dedicate this house to the Griswold Family Christmas."

"Going for a new amateur recreational saucer sled land speed record, Clark W. Griswold, Jr.! Remember, don't try this at home, kids; I am a professional. Later, dudes. Let 'er rip. Hang 10! [pushes off; goes sledding downhill at ridiculously high speed] OH, SHIIIIIIIIIT!!"

"[sliding through a forest on his saucer sled, barely avoiding trees] This is great! It's great! I'm dead!"

"Hey! If any of you are looking for any last-minute gift ideas for me, I have one. I'd like Frank Shirley, my boss, right here tonight. I want him brought from his happy holiday slumber over there on Melody Lane with all the other rich people, and I want him brought right here! With a big ribbon on his head! I want to look him straight in the eye, and I want to tell him what a cheap, lying, no-good, rotten, four-flushing, low-life, snake-licking, dirt-eating, inbred, overstuffed, ignorant, blood-… [kicks something] sucking, dog-kissing, brainless, dickless, hopeless, heartless, fat-assed, bug-eyed, stiff-legged, spotty-lipped, worm-headed sack of monkey shit he is! HALLELUJAH! HOLY SHIT! Where's the Tylenol?"

"[last line] I did it."

"That right there is a RV, I got it off my buddy of mine. He took my house, I took the RV."

"[about Snot] He's cute ain't he? Only problem is, he's got a little bit a "Mississippi leg hound" in 'im. If the mood catches him right, he'll grab your leg and just go to town. You don't want him around if you're wearing short pants, if you know what I mean. Word of warning though, if he does lay into ya, it's best to just let 'im finish."

"I don't know if I oughta go sailin' down no hill with nothin' between the ground and my brain but a piece of government plastic."

"Clark, I'd like to try to fumigate this here chair, it's a good quality item. If you don't mind my askin', how much did she set you back?"

"[after finding out that Clark has received a "Jelly of the Month" club membership in place of a bonus] Clark, that's the gift that keeps on giving the whole year."

"Audrey Griswold: Would it be indecent to ask the grandparents to stay at a hotel?"

"Ellen Griswold: I don't know what to say, except it's Christmas and we're all in misery."

"Ellen Griswold: Welcome to our home - what's left of it."

"Art: Hurry up, Clark. I'm freezing my baguettes off."

"Mr. Shirley: [picks up the phone receiver] Get me somebody. Anybody. And get me somebody while I'm waiting."

"Clark W. Griswold, Sr.: [extreme close-up] SQUIRREL!!!"

"Yule crack up!"

"There's No Place Like Home for a Holiday!"

"Chevy Chase - Clark Wilhelm "Sparky" Griswold, Jr."

"Beverly D'Angelo - Ellen Griswold"

"Juliette Lewis - Audrey Griswold"

"Johnny Galecki - Russell 'Rusty/Russ' Griswold"

"John Randolph - Clark Wilhelm Griswold, Sr."

"Diane Ladd - Nora Griswold"

"E.G. Marshall - Art Smith"

"Doris Roberts - Frances Smith"

"Randy Quaid - Cousin Edward "Eddie" Johnson"

"Miriam Flynn - Cousin Catherine Johnson"

"Cody Burger - Cousin Rocky Johnson"

"Ellen Hamilton Latzen - Cousin Ruby Sue Johnson"

"William Hickey - Uncle Lewis"

"Mae Questel - Aunt Bethany (final role)"

"Nicholas Guest - Todd Chester"

"Julia Louis-Dreyfus - Margo Chester"

"Brian Doyle-Murray - Mr. Frank Shirley"

"Listen, punk. To me, you're nothin' but dogshit, you understand? And a lot of things can happen to dogshit. It can be scraped up with a shovel off the ground. It can dry up and blow away in the wind. Or it can be stepped on and squashed. So take my advice and be careful where the dog shits ya!"

"Do you know the emergency phone number for San Francisco General? Well, why don't you call them right now and have them send down an ambulance. Tell them there's two sorry-looking assholes here with multiple contusions and various abrasions and broken bones."

"Give me what you got, twat-lips, before I give your face its first period."

"Note: ranked #6 in the American Film Institute's list of the top 100 movie quotations in American cinema."

"Dirty Harry is at it again."

"Two killers are at large. One of them is Dirty Harry."

"Clint Eastwood - Insp. 'Dirty' Harry Callahan"

"Sondra Locke - Jennifer Spencer"

"Pat Hingle - Chief Lester Jannings"

"Bradford Dillman - Captain Briggs"

"Audrie J. Neenan - Ray Parkins"

"Michael Currie - Lt. Donnelly"

"Albert Popwell - Horace King"

"Kevyn Major Howard - Hawkins"

"Bette Ford - Leah"

"Nancy Parsons - Mrs. Kruger"

"When it comes to the safety of these people, there's me and then there's God, understand?"

"[trying to revive Lindsey] Goddamn, you bitch, you never backed down from anything in your life! Now, fight! Fight! Fight! Right now! Do it! ( inhales ) Fight!"

"Keep your pantyhose on."

"When you're hanging on by your fingernails, you don't go waving your arms around."

"[typing] FEELS WEIRD. YOU SHOULD TRY THIS."

"[typing] LOVE YOU WIFE"

"This here's the bottomless pit, baby. Two and a half miles, straight down."

"Triple-time sounded like a lot of money, Bud. It ain't."

"[to Hippy] See this? [puts up fist] They used to call this 'The Hammer'."

"Huh. Damn rat's breathing that shit. That is no bullshit, hands down, the goddamnedest thing I ever saw."

"There was a time that I would've asked why"

"[about the Navy SEALS] These guys are about as much fun as a tax audit."

"So raise your hand if you think that was a Russian water-tentacle."

"We all see what we want to see. Coffey looks and he sees Russians. He sees hate and fear. You have to look with better eyes than that."

"It's not easy being a cast-iron bitch. It takes discipline, years of training... A lot of people don't appreciate that."

"Schoenick, your Lieutenant is about to make a real bad career move."

"I know how alone you feel... alone in all that cold blackness... but I'm there in the dark with you. Oh, Bud you're not alone. You remember that time, you were pretty drunk, you probably don't remember... but the power went out at the old apartment, the one on Orange Street... and we were staring at that one little candle, and I said something really dumb like that candle is me, like every one of us is out there alone in the dark in this life... and you just lit up another candle and put it beside mine and said "No, see? That's me. That's me..." And we stared at the two candles, and then we... well, if you remember any of it, I'm sure you remember the next part. Bud, there are two candles in the dark. I'm with you. I'll always be with you, Bud, I promise that."

"Virgil, you wiener."

"[after Cab 3 has landed in the water] Touchdown, and the crowd goes wild."

"Heeeeeeeeeeere's M.I.R.V.!"

"I got to tell you, I give this whole thing a sphincter-factor of about 9.5."

"We don't need them. We can't trust them. We may have to take steps. We're gonna have to take steps."

"It went straight for the warhead, and they think it's cute."

"Everybody just stay calm. The situation is under control."

"Sniff something? Well did ya, rat boy?"

"USS Montana Captain: 60 knots, no wave lines; the Reds don't have anything that fast."

"Bendix: Oh no, look who's with them. It's Queen Bitch of the Universe."

"A place on earth more awesome than anywhere in space."

"There's everything you've ever known about adventure, and then there's The Abyss."

"Deep below the blue surface, there lies a place no one has ever dreamed of."

"Ed Harris - Virgil "Bud" Brigman"

"Mary Elizabeth Mastrantonio - Lindsey Brigman"

"Leo Burmester - Catfish de Vries"

"Todd Graff - Alan "Hippy" Carnes"

"John Bedford Lloyd - Jammer Willis"

"J.C. Quinn - Arliss "Sonny" Dawson"

"Kimberly Scott - Lisa "One Night" Standing"

"Captain Kidd Brewer Jr. - Lew Finler"

"Adam Nelson - Ensign Monk (SEAL)"

"Michael Biehn - Lt. Coffey (SEAL)"

"[of the man who just died saving his life] He was a slob. Did you ever see him eat? Starving children could fill their bellies on the food that ended up in his beard and on his clothes. Dogs would gather to watch him eat. I've never understood gluttony, but I hate it. I hated that about you. He enjoyed disgusting people, being disgusting, the thrill of offending people and making them uncomfortable. It was despicable. You will not be missed."

"It's very easy to love someone like you."

"It's easy to be a holy man on top of a mountain."

"[after Sophie's murder] When Piedmont died, I had to pay him back for my life. I found out there's another debt to pay — for the privilege of being alive. I thought Sophie was my reward for trying to live a good life. Uh uh. There is no payoff — not now."

"I never lend books to coal miners. They've got dirty hands."

"You've never read the Upanishads? You don't know so much... you really don't know anything do you?"

"Tibetan Monk: The pathway to salvation is as narrow and as difficult to walk as a razor's edge."

"I don't know what my fans are going to think. It's definitely not what they're used to from me."

"I think The Razor's Edge is a pretty good movie. But at the time, it was just as reviled as any other comedian doing a serious thing now. Like The Majestic [with Jim Carrey], movies where comedians go straight, people don't like them. It angers people, like you're taking something away from them. That's the response I got. I thought, "Well, aren't we all bigger than that?" I wasn't shocked by it, but I thought that the professional critics would be able to say, "OK, we shouldn't rule this out, because the guy normally does other stuff." Unless it's really despicable, then you have to just jump with both feet on the neck."

"The story of one man's search for himself."

"Bill Murray - Larry Darrell"

"Theresa Russell - Sophie MacDonald"

"Catherine Hicks - Isabel Bradley"

"Denholm Elliott - Elliott Templeton"

"James Keach - Gray Maturin"

"Peter Vaughan - Mackenzie"

"Brian Doyle-Murray - Piedmont"

"Faith Brook - Louisa Bradley"

"Saeed Jaffrey - Raaz"

"Richard Oldfield - Doug Van Allen"

"André Maranne - Joseph, the Butler"

"Bruce Boa - Maturin"

"What are you people, on dope?!"

"[the "five-point plan"] Alright, now pay attention. First of all, Rat, you never let on how much you like a girl. "Oh, Debbie. Hi." Two, you always call the shots. "Kiss me. You won't regret it." Now three, act like wherever you are, that's the place to be. "Isn't this great?" Four, when ordering food, you find out what she wants, then order for the both of ya. It's a classy move. "Now, the lady will have the linguini and white clam sauce, and a Coke with no ice." And five – now this is the most important, Rat. When it comes down to making out, whenever possible, put on side one of Led Zeppelin IV."

"[After being caught masturbating by Linda] Wait. Just a minute. Doesn't anybody ever fucking knock anymore?"

"Mister, if you don't shut up, I'm gonna kick 100% of your ass!"

"It's Awesome! Totally Awesome!"

"At Ridgemont High Only the Rules get Busted!"

"Sean Penn - Jeff Spicoli"

"Jennifer Jason Leigh - Stacy Hamilton"

"Judge Reinhold - Brad Hamilton"

"Phoebe Cates - Linda Barrett"

"Robert Romanus - Mike Damone"

"Brian Backer - Mark Ratner"

"Ray Walston - Mr. Hand"

"Scott Thomson - Arnold"

"Vincent Schiavelli - Mr. Vargas"

"Amanda Wyss - Lisa"

"Forest Whitaker - Charles Jefferson"

"Anthony Edwards - Stoner Bud"

"Eric Stoltz - Stoner Bud"

"[breaking up a fight] Cut it out! Cut it out! Cut it out! The hell's the matter with you?! Stupid! We're all very different people. We're not Watusi. We're not Spartans. We're Americans, with a capital 'A', huh? You know what that means? Do ya? That means that our forefathers were kicked out of every decent country in the world. We are the wretched refuse. We're the underdog. We're mutts! Here's proof: his nose is cold! But there's no animal that's more faithful, that's more loyal, more loveable than the mutt. Who saw Old Yeller? Who cried when Old Yeller got shot at the end? [raises his hand] Nobody cried when Old Yeller got shot? I'm sure. [hands are reluctantly raised] I cried my eyes out. [even more hands go up] So we're all dogfaces. We're all very, very different, but there is one thing that we all have in common: we were all stupid enough to enlist in the Army. We're mutants. There's something wrong with us, something very, very wrong with us. Something seriously wrong with us! We're soldiers, but we're American soldiers! We've been kickin' ass for 200 years! We're 10 and 1! Now we don't have to worry about whether or not we practiced. We don't have to worry about whether Captain Stillman wants to have us hung. All we have to do is to be the great American fighting soldier that is inside each one of us. Now do what I do, and say what I say. And make me proud. Fall in!"

"[at Czech border crossing, holding map pretending to be lost tourist, talking to Czech soldiers] We're so goddamn lost. Where the hell is Innsbruck, Austria?"

"I've always been kind of a pacifist. When I was a kid, my father told me, "Never hit anyone in anger, unless you're absolutely sure you can get away with it." I don't know what kind of soldier I'm gonna make, but I want you guys to know that if we ever get into real heavy combat... I'll be right behind you guys. Every step of the way."

"[after stepping off the bus] Boy, I hope this is the mess hall. [looks at Captain Stillman] How’s it goin’ Eisenhower?"

"The story of a man who wanted to keep the world safe for democracy...and meet girls."

"Bill Murray — John Winger"

"Harold Ramis — Russell Ziskey"

"Warren Oates — Sgt. Hulka"

"John Candy — Dewey "Ox" Oxberger"

"P. J. Soles — Stella Hansen"

"Sean Young — Louise Cooper"

"John Larroquette — Capt. Stillman"

"John Diehl — Howard J. "Cruiser" Turkstra"

"Judge Reinhold — Elmo Blum"

"Conrad Dunn — Francis "Psycho" Soyer"

"Roberta Leighton — Anita, Winger's ex-girlfriend"

"Lance LeGault — Colonel Glass"

"John Voldstad — Stillman's Aide"

"Joe Flaherty — Border Guard"

"Robert J. Wilke — General Barnicke"

"Timothy Busfield — Mortar Soldier"

"[about to throw out the almanac] The Skyway's jammed. It's gonna take us forever to get there. And this stays here. I didn't invent the time machine to win at gambling; I invented the time machine to travel through time."

"My only regret is that I'll never get a chance to visit my favorite historical era, the Old West. But time-traveling is just too dangerous. Better that I devote myself to study the other great mystery of the universe: Women."

"[about Biff having gone back to November 12, 1955] Unbelievable that Old Biff could've chosen that particular date. It could mean that that point in time inherently contains some sort of cosmic significance. Almost as if it were the temporal junction point of the entire space-time continuum. On the other hand, it would just be an amazing coincidence."

"Getting back was only the beginning."

"Synchronize your watches. The future's coming back…"

"Roads? Where we're going, we don't need roads!"

"This time Marty McFly doesn't know if he's coming or going...and his future is really up in the air."

"Welcome Back Marty McFly. He's smart. He's handsome. He's got a great future behind him."

"Michael J. Fox — Marty McFly/Marty McFly Jr./Marlene McFly"

"Christopher Lloyd — Dr. Emmett Brown"

"Thomas F. Wilson — Biff Tannen/Griff Tannen"

"Lea Thompson — Lorraine Baines-McFly-Tannen"

"Jeffrey Weissman — George McFly"

"James Tolkan — Mr. Strickland"

"Elisabeth Shue — Jennifer Parker-McFly"

"Billy Zane — Match"

"Charles Fleischer — Terry"

"Flea — Needles"

"Once the film came out and was this huge success, the studio very quickly said, "We must have a sequel!" But because the second one was such a long script, and they couldn't find any way to shorten it, they decided to make it as two films. I'm surprised the second one wasn't marketed as "part two of three". A lot of people found it less rewarding because it didn't have the fun and lightness of the first one, but then the third one makes sense of the second – it all connects up. I think the first film resonates so well with audiences because of the element of wish-fulfilment at its heart. We've all said to ourselves, "I wish I could go back in time and change something" or, "If only I could do that over again"."

"I feel the need, the need for speed."

"Up there with the best of the best."

"Great balls of fire!"

"Tom Cruise - LT Pete 'Maverick' Mitchell"

"Anthony Edwards - LTJG Nick 'Goose' Bradshaw"

"Val Kilmer - LT Tom 'Iceman' Kazanski"

"Rick Rossovich - LTJG Ron 'Slider' Kerner"

"James Tolkan - CDR Tom 'Stinger' Jardian"

"Kelly McGillis - Charlotte 'Charlie' Blackwood"

"Meg Ryan - Carol Bradshaw"

"Tom Skerritt - CDR Mike 'Viper' Metcalf"

"Michael Ironside - LCDR Rick 'Jester' Heatherly"

"John Stockwell - Cougar"

"Barry Tubb - Wolfman"

"Tim Robbins - LTJG Sam 'Merlin' Wells"

"Whip Hubley - LT Rick 'Hollywood' Neven"

"[Opening narration] I believe in the Church of Baseball. I've tried all the major religions and most of the minor ones. I've worshipped Buddha, Allah, Brahma, Vishnu, Siva, trees, mushrooms, and Isadora Duncan. I know things. For instance, there are 108 beads in a Catholic rosary and there are 108 stitches in a baseball. When I learned that, I gave Jesus a chance. [sigh] But it just didn't work out between us. The Lord laid too much guilt on me. I prefer metaphysics to theology."

"This is the damndest season I've ever had; the Durham Bulls can't lose and I can't get laid!"

"[narrating] Baseball may be a religion full of magic, cosmic truth, and the fundamental ontological riddles of our time, but it's also a job."

"[narrating] The world's made for people who aren't cursed with self-awareness."

"[narrating] "Full many a flower's born to blush unseen and waste its sweetness on the desert air." - Thomas Gray...or William Cullen Bryant, I don't know. I get them mixed up."

"[Closing narration] Walt Whitman once said, "I see great things in baseball. It's our game, the American game. It will repair our losses and be a blessing to us." You could look it up."

"[To Nuke] Your shower shoes have fungus on them. You'll never make it to the bigs with fungus on your shower shoes. Think classy, you'll be classy. If you win 20 in the Show, you can let the fungus grow back on your shower shoes and the press'll think you're colorful. Until you win 20 in the Show, however, it means you're a slob."

"[Turns on the sprinklers on a ball field] Oh my goodness, we've got ourselves a natural disaster!"

"[Adjusts Nuke's garter belt] The rose goes on the front, big guy."

"[To the batter after Nuke ignores his signs] This sonofabitch's pitching a 2-hit shutout and he's shaking me off, you believe that shit? Charlie, here comes the deuce, and when you speak of me, speak well."

"Never fuck with a winning streak."

"[Complaining to an umpire] That was a cocksucking call!"

"You know what the difference between hitting .250 and .300 is? It's 25 hits. 25 hits in 500 at-bats is 50 points, okay? There's six months in a season; that's about twenty-five weeks. That means if you get just one extra flare a week, just one; A gork, a groundball—you get a groundball with eyes—you get a dying quail...just one more dying quail a week, and you're in Yankee Stadium."

"I've been known on occasion to howl at the moon."

"[Repeated line] C'mon, Meat. Bring me that weak-ass shit."

"[Describing his first night with Annie] We didn't fuck. She just read poetry to me all night. It was more tiring than fucking."

""Limping jets of love"...Hey, Crash. Does that mean what I think it means, "limping jets of love"?"

"[Wearing Annie's garter belt under his uniform for the first time] This underwear feels kinda sexy...that don't make me queer, right? Right."

"Why does he want me to throw the heat again, I just threw it. No, don't think, Meat, just give him the gas."

"[Gives up a hit in a close game] Shit, piss, fuck!"

"A good friend of mine used to say, "This is a very simple game. You throw the ball, you catch the ball, you hit the ball. Sometimes you win, sometimes you lose, sometimes it rains." Think about that for a while."

"A Major League love story in a Minor League town."

"It's all about sex and sport. What else is there?"

"Romance is a lot like baseball. It's not whether you win or lose. It's how you play the game."

"A movie about America's other favorite pastime."

"Kevin Costner - Lawrence "Crash" Davis"

"Susan Sarandon - Annie Savoy"

"Tim Robbins - Ebby Calvin "Nuke" LaLoosh"

"Trey Wilson - Joe "Skip" Riggins"

"Robert Wuhl - Larry Hockett"

"William O'Leary - Jimmy"

"Jenny Robertson - Millie"

"Danny Gans - Deke"

"Max Patkin - Himself"

"[to Jimmy Chitwood] You know, in the ten years that I coached, I never met anybody who wanted to win as badly as I did. I'd do anything I had to do to increase my advantage. Anybody who tried to block the pursuit of that advantage, I'd just push 'em out of the way. Didn't matter who they were, or what they were doing. But that was then. You have special talent, a gift. Not the school's, not the townspeople, not the team's, not Myra Fleener's, not mine. It's yours, to do with what you choose. Because that's what I believe, I can tell you this: I don't care if you play on the team or not."

"I would hope you would support who we are. Not, who we are not. These six individuals have made a choice to work, a choice to sacrifice, to put themselves on the line 23 nights for the next 4 months, to represent you, this high school. That kind of commitment and effort deserves and demands your respect. This is your team."

"Five players on the floor functioning as one single unit: team, team, team - no one more important than the other."

"Stick with your man. Think of him as chewing gum. By the end of the game, I want you to know what flavor he is."

"There's a, uhm, tradition in tournament play to not talk about the next step until you've climbed the one in front of you. I'm sure going to the State finals is beyond your wildest dreams, so let's just keep it right there. Forget about the crowds, the size of the school, their fancy uniforms, and remember what got you here. Focus on the fundamentals that we've gone over time and time again. And most important, don't get caught up thinking about winning or losing this game. If you put your effort and concentration into playing to your potential, to be the best that you can be, I don't care what the scoreboard says at the end of the game. In my book, we're gonna be winners! OK?!"

"[to Coach Dale] Sun don't shine on the same dog's ass every day, but, mister you ain't seen a ray of light since you got here."

"Gene Hackman - Coach Norman Dale"

"Barbara Hershey - Myra Fleener"

"Dennis Hopper - Shooter"

"Sheb Wooley - Cletus"

"Fern Persons - Opal Fleener"

"Chelcie Ross - George"

"Robert Swan - Rollin"

"Michael O'Guinne - Rooster"

"Brad Boyle - Whit Butcher"

"Steve Hollar - Rade Butcher"

"Brad Long - Buddy Walker"

"David Neidorf - Everett Flatch"

"Kent Poole - Merle Webb"

"Wade Schenck - Ollie McClellan"

"Scott Summers - Strap Purl"

"Maris Valainis - Jimmy Chitwood"

"Look, spaghetti arms. This is my dance space. This is your dance space. I don't go into yours, you don't go into mine. You gotta hold the frame."

"Nobody puts Baby in a corner."

"Sorry about the disruption, folks, but I always do the last dance of the season. This year somebody told me not to. So I'm gonna do my kind of dancin' with a great partner, who's not only a terrific dancer. Somebody who's taught me that there are people willing to stand up for other people no matter what it costs them. Somebody who's taught me about the kind of person I wanna be. Miss Frances Houseman."

"[voiceover] That was the summer of 1963, when everybody called me "Baby", and it didn't occur to me to mind. That was before President Kennedy was shot, before the Beatles, when I couldn't wait to join the Peace Corps, and I thought I'd never find a guy as great as my dad. That was the summer we went to Kellermans."

"[when she sneaks into the employees-only party] I carried a watermelon. [realizes what she just said] I carried a watermelon?"

"Oh, yes, as a matter of fact it is. We're supposed to do the show in two days, you won't show me the lifts, I'm not sure of the turns, I'm doing all this to save your ass, what I really want to do is drop you on it!"

"[to her father] I told you I was telling the truth, Daddy. I'm sorry I lied to you, but you lied too. You told me everyone was alike and deserved a fair break. But you meant everyone who was like you. You told me you wanted me to change the world, to make it better. But you meant by becoming a lawyer or a Doctor and marrying someone from Harvard. I'm not proud of myself, but I'm in this family too. You can't keep giving me the silent treatment. There are a lot of things about me that aren't what you thought. But if you love me, you have to love all the things about me, and I love you. I'm sorry I let you down; I'm so sorry, Daddy. But you let me down too."

"Have The Time Of Your Life"

"First dance. First love. The time of your life."

"Dancing to the beat of their hearts."

"Patrick Swayze - Johnny Castle"

"Jennifer Grey - Frances "Baby" Houseman"

"Jerry Orbach - Dr. Jake Houseman"

"Kelly Bishop - Marjorie "Marge" Houseman"

"Jane Brucker - Lisa Houseman"

"Cynthia Rhodes - Penny Johnson"

"Jack Weston - Max Kellerman"

"Max Cantor - Robbie Gould"

"Lonny Price - Neil Kellerman"

"Wayne Knight - Stan"

"All right. Let's hit the fuckin' road, we're givin' our neighbor a joy ride. Let's get on with it. Bye, Ben. Anyone, uh, want to go on a joy ride with us. [to Dorothy] How about you? Huh? Hey, no smile for Frank? No? OK. Fuck it. Let's go. Now it's dark. [shouting] Let's FUCK! I'll fuck anything that moves!"

"[to Jeffrey] Don't be a good neighbor to her. I'll send you a love letter straight from my heart, fucker. Do you know what a love letter is? It's a bullet from a fuckin' gun, fucker. If you receive a love letter from me, you are fucked forever. Do you understand, fuck? I'll send ya straight to Fuck, fucker!"

"Fuck you, you fucking fuck! Fuck you, you fuck!"

"HEINEKEN!? Fuck that shit! PABST BLUE RIBBON!!"

"Shut up! It's daddy, fuckhead. Where's my bourbon?"

"In dreams, I walk with you. In dreams, I talk to you. In dreams, you're mine, all the time. Forever."

"Isabella Rossellini - Dorothy Vallens"

"Kyle MacLachlan - Jeffrey Beaumont"

"Dennis Hopper - Frank Booth"

"Laura Dern - Sandy Williams"

"Hope Lange - Mrs. Williams"

"Dean Stockwell - Ben"

"Ken Stovitz - Mike"

"Brad Dourif - Raymond"

"George Dickerson - Det. John Williams"

"Priscilla Pointer - Mrs. Beaumont"

"Frances Bay - Aunt Barbara"

"Jack Harvey - Mr. Tom Beaumont"

"Daniel-san, you much humor!"

"Daniel-san, you look revenge that way you start by digging two grave!"

"[repeated line to Daniel] Look eye! Always look eye!"

"To make honey, young bee need young flower, not old prune."

"First learn balance. Balance good, karate good, everything good. Balance bad, might as well pack up, go home."

"[about Kreese's methods] That is not karate. That bad man teach bad things."

"He taught him the secret to karate lies in the mind and heart. Not in the hands."

"Only the "Old One" could teach him the secrets of masters."

"Ralph Macchio - Daniel LaRusso"

"Pat Morita - Mr. Hideo Miyagi"

"Elisabeth Shue - Ali Mills"

"William Zabka - Johnny Lawrence"

"Martin Kove - John Kreese"

"Randee Heller - Lucille LaRusso"

"Chad McQueen - Dutch"

"Ron Thomas - Bobby Brown"

"Tony O'Dell - Jimmy"

"Rob Garrison - Tommy"

"Peter Weller — Officer Alex J. Murphy/RoboCop"

"Nancy Allen — Officer Anne Lewis"

"Dan O'Herlihy — The Old Man"

"Ronny Cox — Dick Jones"

"Kurtwood Smith — Clarence Boddicker"

"Miguel Ferrer — Bob Morton"

"Robert DoQui — Sergeant Warren Reed"

"Ray Wise — Leon Nash"

"Paul McCrane — Emil Antonowsky"

"Jesse D. Goins — Joe Cox"

"Lee de Broux — Sal"

"Mark Carlton — Ron Miller"

"Gene Wolande — Prisoner"

"S.D. Nemeth — Bixby Snyder"

"Del Zamora — Kaplan"

"Yolanda Williams — Ramirez"

"Edward Edwards - Manson"

"Jon Davison — ED-209 (voice)"

"Part Man. Part Machine. All Cop."

"The future of law enforcement."

"Do you find Jesus in your films? “RoboCop” has a metaphor of Jesus. The reason I did it was because, for me, there were two metaphors. One is really Paradise Lost, which is when he comes to his house. He is already “RoboCop.” He doesn’t know who he is. He goes to his house and gets flashes of something wonderful that was there. His wife and his child, and the love of them. That’s lost paradise. He cannot touch, it but it was there. When I made it, this was important to me. It was the decision moment to me. I see this metaphor of Paradise Lost and standing at the Gates of Eden. The other metaphor, is that there is a resurrection. That is why he gets killed in an even more brutal way, because I felt that was a metaphor of crucifixion. Murphy gets killed and resurrects. He is dead and resurrected with another brain. It is very interesting if you read in the Gospels about Jesus being resurrected. He doesn’t say anything anymore. It is monosyllabic. But he, after resurrection, expresses himself monosyllabic with phrases of five or ten words. If you look at “Robocop,” that’s what he does. If you look at his eyes, you slowly start to see what he sees. Most things he says is, put down your weapon or whatever. At the end of the movie, because I was living in the United States, the metaphor is that he’s walking on water. In the front of the water there are the walls of an abandoned steel factory, where we shot. You can see the walls like the walls of Troy or Jerusalem. I put grit under the water so he could walk on water. To make him into an American Jesus, he turns to the bad guy and says, “I’m not going to arrest you anymore. I’m going to kill you.” That for me was the American Jesus."

"It’s certainly the most challenging role I’ve ever done. To bring that alive, much of it is thanks to Moni Yakim [the head of the Movement Department at Juilliard], Moni Yakim, the writers [Edward Neumeier and Michael Miner], and Paul Verhoeven. That quadrant of people all infused to make that thing, and Rob Bottin, the makeup artist, and Stephan Dupuis, the guy who put on the prosthetics. I dunno, that was just… I knew I was making a good film. When I met Paul Verhoeven in a hotel room in New York, I knew that, because Paul was directing it, it was going to be great. I knew it was going to have something of a moral opera in it and that he was not going to miss the universal morality in this. He was not going to just make an action movie. And it’s a very funny movie and a brilliant sort of social commentary. When I met Verhoeven, I’d seen all his movies, and I just knew he’d be fantastic. And to be feeling the feelings I felt when I met him… I mean, he was intimidating, but I knew that, with his expertise, he’d be executing something non-ephemeral and awakening certain aspects of social morality that’ll last. That movie will be around forever, man."

"I feel good about playing a robot in that I’m playing a human being who has been transformed into a cyborg. Aside from the action-adventure, the corruption, corporate machinery gone berserk and so on, the heart of all this is a morality tale. It’s like Beauty and the Beast, or the Tin Man of The Wizard of Oz. It’s a great little jewel of a human story."

"I worked with a mime for four months. We wanted to take a human being and transform him into a robot, walking in a suit in such a way that was stylized, attractive, yet computerized and the mechanical without being ‘mimelike.’ In essence, we wanted to have some humanity breathe through this robotic thing."

"The guys that shot me are part of the military-industrial complex. These ‘powers that be’ manage the police force and are also behind the cybernetic cop idea. They are also the people who are feeding the drug wars, so they can build more robots and fight the drug wars they themselves created! All these people are guilty-not only the people who shot me, but the people who made me, too. When they realize that Robo has found out the truth about them, they try to kill me."

"RoboCop, a futuristic story about a policeman shot to death and then revived after all parts of his body have been replaced by artificial substitutes, introduces a more tragic note: the hero who finds himself literally "between two deaths"—clinically dead and at the same time provided with a new, mechanical body—starts to remember fragments of his previous, "human" life and thus undergoes a process of resubjectivication, changing gradually back from pure incarnated drive to a being of desire. (...) [I]f there is a phenomenon that fully deserves to be called the "fundamental fantasy of contemporary mass culture," it is this fantasy of the return of the living dead: the fantasy of a person who does not want to stay dead but returns again and again to pose a threat to the living."

"You can run me, you can starve me, you can beat me and you can kill me. Just don't bore me."

"This is the AK-47 assault rifle, the preferred weapon of your enemy, and it makes a distinctive sound when fired at you, so remember it."

"Clint Eastwood as Gunnery Sergeant Thomas Highway"

"Marsha Mason as Aggie"

"Everett McGill as Major Malcolm A. Powers"

"Moses Gunn as Staff Sergeant Luke Webster"

"Eileen Heckart as Mary Jackson"

"Mark Mattingly as Franco "One Ball" Peterson"

"Bo Svenson as Roy Jennings"

"[to Cindy] You can do anything you want, anything you put your heart and mind into!"

"You ignored the Ronald Miller geek for seventeen years, now you want to ride the Ronnie Miller express!"

"[to his dad, about his brother] Here is the prime example. You're raising a doll-chopping homicidal maniac, and what do you do every time you see him? You give him money. Great!"

"[Talking to Cindy outside her house] I need to talk to you. Every time I call, you're either taking a bath, washing your hair or you're out of the country. That was a good one, by the way."

"[to Cindy] Oh! You-- You demolished me New Year's Eve. But see-- I realize you did me a favor. You brought me back to reality. All I ever wanted to do was get close to you. And then, when I finally got there, it wasn't me anymore."

"Guys, take a look at my forehead... do you see a sign that says information?"

"[to Ronald] Iris? Oh yeah, she's a big conquest. She's given more rides than Greyhound!"

"[at a party] You! Even Bobby thinks we went out. Great, huh? Ha! All of you thought we were a couple. What a joke!... Ronald Miller paid me 1,000 bucks to pretend I liked him. What a deal, huh? $1,000 to go out with him for a month. This guy. Oh, God. He bought me. And he bought all of you. He was sick and tired of being a nobody. Yeah, and he said that all of you guys would worship him if we went out. And I didn't believe that. I was, like, no way! And he was right! No, leave me alone. He was right. Our little plan worked, didn't it, Ronald? The dance. That stupid dance! What a bunch of followers you guys are. I mean, at least I got... At least I got paid."

"[to Ronald] Popularity isn't perfect. I mean, it almost feels like a job sometimes. Do you remember that suede outfit? Yeah, well that was me trying to fit in. I have to work at it, so does everyone else."

"Chuckie Miller: [about Ronald's card nights] Cards with the tards. Who could beat a night of cards, chips, dips and dorks?"

"Patty: [about Ronald] I mean, he went from totally geek, to totally chic!"

"Kenneth: [to Ronald] You shit on my house!"

"Jock: Look - it's a nerd herd!"

"Patrick Dempsey - Ronald Miller"

"Amanda Peterson - Cindy Mancini"

"Courtney Gains - Kenneth Wurman"

"Tina Caspary - Barbara"

"Seth Green - Chuckie Miller"

"Sharon Farrell - Mrs. Mancini"

"Darcy DeMoss - Patty"

"Dennis Dugan - David Miller"

"Cloyce Morrow - Judy Miller"

"Devin DeVasquez - Iris"

"Cort McCown - Quint"

"Eric Bruskotter - Big John"

"Gerardo Mejía - Ricky"

"Ami Dolenz - Fran"

"Max Perlich - Lester"

"[voiceover] The dream is always the same. Instead of going home, I go to the neighbors'. I ring, but nobody answers. The door is open, so I go inside. I'm looking around for the people, but nobody seems to be there. And then I hear the shower running, so I go upstairs to see what's what. Then I see her; this... girl, this incredible girl. I mean, what she's doing there I don't know, because she doesn't live there... but it's a dream, so I go with it. "Who's there?" she says. "Joel," I say. "What are you doing here?" "I don't know what I'm doing here; what are you doing here?" "I'm taking a shower," she says. Then I give her: "You want me to go?" "No," she says; "I want you to wash my back." So now, I'm gettin' enthusiastic about this dream. So I go to her, but she's hard to find through all the steam and stuff; I keep losing her. Finally I get to the door... and I... find myself in a room full of kids taking their college boards. I'm over three hours late; I've got two minutes to take the whole test. I've... just made a terrible mistake. I'll never get to college. My life is ruined."

"It seems to me that if there were any logic to our language, trust would be a four letter word."

"[about Lana] It was great the way her mind worked: No guilt, no doubts, no fear. None of my specialties. Just this shameless pursuit of immediate material gratification. What a capitalist! She told me I could make more money in one night than I'd make all year. Enough to pay for my father's car. She told me she'd be my girlfriend. She told me a lot of things. I believed them all. So, she introduced me to her friends. I introduced her to my friends."

"[voiceover] My name is Joel Goodson. I deal in human fulfillment. I grossed over eight thousand dollars in one night. Time of your life, huh kid?"

"I'm really trying to be friends with you. But I'd appreciate it if you'd stop laying these little judgments on me while you're leaning on your daddy's $40,000 car."

"Joel, you look like a smart kid. I'm going to tell you something I'm sure you'll understand. You're having fun now, right? Right, Joel? The time of your life. In a sluggish economy, never ever fuck with another man's livelihood. Now, if you're smart, and I hope you are, you're not gonna make me come back here."

"Just use your best judgment. We trust you."

"Meet the model son who's been good too long."

"There's a time for playing it safe and a time for Risky Business."

"Tom Cruise - Joel Goodsen"

"Rebecca De Mornay - Lana"

"Joe Pantoliano - Guido"

"Richard Masur - Bill Rutherford"

"Bronson Pinchot - Barry"

"Curtis Armstrong - Miles"

"Nicholas Pryor - Joel's Father"

"Janet Carroll - Joel's Mother"

"Shera Danese - Vicki"

"Raphael Sbarge - Glenn"

"Bruce A. Young - Jackie"

"Kevin Anderson - Chuck"

"Sarah Partridge - Kessler"

"Megan Mullally - Call Girl"

"I don't need eyes to see you. I can smell you at a hundred paces."

"Falkon, may I give you a word of advice? Put him over your knee and beat some manners into him."

"[having a hard time climbing the castle wall] Tomorrow I start my diet."

"I'm afraid Your Highness' growth is going to be stunted... permanently!"

"There will be no world!"

"Gedren's Handmaid: She's gone. Oh, I'm so glad that you've come. Please, will you protect me? I'm so frightened."

"Prince Tarn: Why does she fight so hard? She doesn't want to win."

"Heroes of their time. For all time."

"A woman and a warrior that became a legend."

"(The car is stuck in a traffic circle) Hey look kids, there's Big Ben, and there's Parliament."

"[singing] Oh the hills are alive with the sound of Griswold/this shit's been around for a very long time."

"Yeah country's eons old kids, that's centuries to you and me."

"[about Stonehenge] Take a last look kids, At one of man's most curious creations, built to stand the test of time and the elements, the war, you name it, A thing of glory for a million in future generations to see, and we were here."

"For over two thousand years, Europe has survived many great disasters. Now for the real test. Chevy Chase & his family are coming from America!"

"For centuries, Europe has survived many foreign invasions. Now for the real test. Chevy Chase and his typical American family are on the way."

"Chevy Chase as Clark Griswold"

"Beverly D'Angelo as Ellen Griswold"

"Dana Hill as Audrey Griswold"

"Jason Lively as Rusty Griswold"

"Victor Lanoux as The Thief"

"Eric Idle as The Bike Rider"

"I want a woman, Dad. I want somebody to love me. I wanna to be free again. I wanna walk in the backyard on the grass. I wanna put my bare feet in the ocean. I wanna run along the sand and feel it on my feet. I wanna stand up in the shower with the hot water streaming down my legs, in the morning... I wanna explode, Dad. I wanna get out of this fucking body I'm in. I wanna be a man again...I just wanna be a man again."

"[to a news camera, outside the 1972 Republican Convention] I'm here tonight to say that this war is wrong, that this society lied to me, lied to my brothers. They've deceived the people of this country, tricked them into going 13,000 miles to fight a war against a poor, peasant people who have a proud history of resistance, who have been struggling for their own independence for 1,000 years - the Vietnamese people. I can't find the words to express, and the leadership of this government sickens me. People say that if you don't love America, then get the hell out. Well, I love America. We love the people of America very much, but when it comes to the government, it stops right there. The government is a bunch of corrupt thieves, they are rapists and robbers. And we are here to say that we don't have to take it anymore. We are here to say that we are here to tell the truth; they are killing our brothers in Vietnam! We want them to hear the truth tonight!"

"People say that if you don't love America, then get the hell out. Well, I love America."

"It's my leg! I want my leg, you understand? Can't you understand that? All's I'm sayin' is that I want to be treated like a human being! I fought for my country! I am a Vietnam veteran! I fought for my country!"

"[to Charlie] I had a mother; I had a father, things - things that made sense. Do you remember things that made sense? Things you could count on? Before we all got so lost? What are we gonna do, Charlie? What am I gonna do?"

"Marine Sergeant: [to high school boys] Not everybody can become United States Marines. We want the best and we settle for nothing but the best because there is nothing prouder, nothing finer, nothing standing as straight as a United States Marine. Now they got the Air Force, they got the Navy, they got the Army, they got the Coast Guard - and if you want to join them, go ahead. They got plenty of room. But if you want a challenge, if you want to try something difficult, try to achieve the impossible - try 13 weeks of hell at Parris Island, South Carolina and find out if you got what it takes, find out if you really are a man, then the Marines might be what you are looking for. Tarawa... Iwo Jima... Belleau Wood...the frozen Chosin Reservoir. First to fight, we have never lost a war. We have always come when our country has called."

"Willie: I'm serious, man, you gotta read some books. There's a revolution going on, Kovic. Brothers are gettin' it together, and if you ain't part of the solution, man, then you're part of the problem."

"Lieutenant: [to Ron] It wasn't your fault, goddamn it! They got in the goddamn way!"

"Charlie: [to Ron] The bitch thinks it's funny I can't move my dick!"

"Tom Cruise - Ron Kovic"

"Raymond J. Barry - Mr. Kovic"

"Caroline Kava - Mrs. Kovic"

"Kyra Sedgwick - Donna"

"Josh Evans - Tommy Kovic"

"Jamie Talisman - Jimmy Kovic"

"Anne Bobby - Suzanne Kovic"

"Samantha Larkin - Patty Kovic"

"Tom Berenger - Recruiting Gunnery Sgt. Hayes"

"Frank Whaley - Timmy Burns"

"Jerry Levine - Steve Boyer"

"Willem Dafoe - Charlie"

"Richard Panebianco - Joey Walsh"

"Rob Camilletti - Tommy Finnelli"

"Stephen Baldwin - Billy Vorsovich"

"Michael McTighe - Danny Fantozzi"

"[To summon the invisible swordsman] Farley Farley Farley Farley Farley, Hufaaaaarrr!"

"Mount up! ... It means get on your horses."

"Uh, this is real... Yes: They. are going. to KILL us!"

"Oh GREAT!!! REAL bullets!!!"

"You were supposed to fire up! We both fired UP! It's like living with a six-year-old."

"Well you slime eating dogs, you scum-sucking pigs, you sons of a motherless goat!"

"In a way, all of us has an El Guapo to face. For some, shyness might be their El Guapo. For others, a lack of education might be their El Guapo. For us, El Guapo is a big, dangerous man who wants to kill us. But as sure as my name is Lucky Day, the people of Santa Poco can conquer their own personal El Guapo, who also happens to be the actual El Guapo!"

"One time, Dorothy Gish was visiting me on the set of "Little Neddy, Grab Your Gun". And she came up to me and she looked me in the face and - I'd never met her, I'd just known her on films, you know, Dorothy Gish, Lillian's sister - and she looked me in the eyes and she said, "Young man, you have got it." And. Ah! Dorothy Gish. It's a true story."

"Do you have anything besides Mexican food?"

"I know each one of you, like I know my own smell!"

"[Describing his plans for dealing with the Amigos] Tomorrow I will take fifty men with me, find these three gringos, open their stomachs, grab their intestines, and squeeze the shit out of them!"

"El Guapo only kills men. [horse neighs, Three Amigos shuffle nervously] He does not kill crying women! [Three Amigos let out a sigh of relief]"

"Jefe: [to El Guapo] Could it be that once again you are angry for something else, and you are taking it out on me?"

"Pablo: Can I have your watch when you are dead?"

"Dirty Mexican: And then they called us scum sucking pigs...US!"

"Harry Flugelman: (ranting at the Amigos) It'll be a cold day in hell when Harry Flugelman lets an actor tell him what to do!"

"Steve Martin - Lucky Day"

"Chevy Chase - Dusty Bottoms"

"Martin Short - Ned Nederlander"

"Alfonso Arau - El Guapo"

"Tony Plana - Jefe"

"Humberto Ortiz - Pablo"

"Patrice Martinez - Carmen"

"Philip Gordon - Rodrigo"

"Fred Asparagus - Bartender"

"Kai Wulff - German"

"Randy Newman - Singing Bush (voice)"

"[to Dr. Eudora Fletcher] Oh . . . the pancakes!"

"I love baseball. You know, it doesn't have to mean anything. It's just very beautiful to watch."

"[to Dr. Eudora Fletcher] I have an interesting case. I'm treating two sets of Siamese twins with split personalities. I'm getting paid by eight people."

"[to Dr. Eudora Fletcher] I worked with Freud in Vienna. We broke over the concept of penis envy. Freud felt that it should be limited to women."

"[to Dr. Eudora Fletcher] My brother beat me. My sister beat my brother. My father beat my sister, my brother, and me. My mother beat my father, my sister, my brother, and me. The neighbors beat our family. The family down the street beat the neighbors and our family."

"But I've never flown before in my life, and it shows exactly what you can do, if you're a total psychotic!"

"I would like to apologize to everyone. I . . . I'm awfully sorry for, for marrying all those women. It just, I don't know, it just seemed like the thing to do. My deepest apology goes to the Trochman family in Detroit. I . . . I never delivered a baby before in my life, and I . . . I just thought that ice tongs was the way to do it. And to the, to the gentleman who's appendix I took out, I... I'm, I don't know what to say, if it's any consolation I... I may still have it somewhere around the house."

"[to Dr. Eudora Fletcher, under hypnotism] I'm 12 years old. I run into the synagogue. I ask the rabbi the meaning of life. He tells me the meaning of life, but he tells it to me in Hebrew. I don't understand Hebrew. Then he wants to charge me $600 for Hebrew lessons."

"That Zelig could be responsible for the behavior of each of the personalities he assumed means dozens of lawsuits. He is sued for bigamy, adultery, automobile accidents, plagiarism, household damages, negligence, property damages, and performing unnecessary dental extractions."

"The Ku Klux Klan, who saw Zelig as a Jew, that could turn himself into a Negro and a Chinaman, saw him as a triple threat."

"The question of whether Zelig was a psychotic or merely neurotic was a question that was endlessly discussed among his doctors. Now I myself felt his feelings were really not all that different from the normal, what one would call the well-adjusted, normal person, only carried to an extreme degree, to an extreme extent. I myself felt that one could really think of him as the ultimate conformist."

"Woody Allen – Leonard Zelig"

"Mia Farrow - Dr. Eudora Nesbitt Fletcher"

"Patrick Horgan - Narrator"

"Bruno Bettelheim – Himself"

"Boris, Friedrich Hegel left us with two very important concepts. The first is that nothing great is ever accomplished without passion, and the second is "sonofabitch". One word, accent on the last syllable."

"Another of the dilemmas "in which we are all", Pavlo, is that there are too many damn machines around here. We're all missing The Big Picture."

"Look! First day of classes. Undergraduate female bottoms as far as the eye can see. In two weeks time, all the really choice bottoms will be in the hands, so to speak, of the varsity ath-uh-letes."

"I tell you Boris, that one of these days we'll look in to our microscope and find ourselves staring right into God's eyes, and the first one who blinks is going to lose his testicles."

"[Sid is going thru Harry's garbage] We shall be putting out another load on Friday, Sid. I'll try to leave something incriminating for you. Meantime, would you care for a cup of Mrs. Mallory's coffee? [Sid looks at Harry resignedly, hangs his head, and accompanies Harry into the house for coffee]"

"When Lucy and I first met, Paul, the world was a pet. It came along with us wherever we went, like a good dog. Obedient. Loyal. Friendly. The world responded to our commands."

"An institute for advanced research with no funds for research. It's a provocative concept."

"[to the Site Review committee] As you know, our research here relates to the biochemical mechanisms of disease. And I am pleased to announce this morning that God has agreed to provide us with all the answers we need for just under $800,000."

"Well, our understanding of the infinite variables of the human brain's behavior stops right here. Welcome to the Dark Ages of enlightened science."

"Mrs. Pruitt: [to Dr. Wolper] Dr. Novak called. He said that your proposed address to the Medical Congress on "The Profit Incentive in Misdiagnosis" is really not very funny at all."

""Zeno": Zeno's first law: never make love with anyone crazier than yourself."

"Meli: If I took my pants off I could beat the Green Bay Packers."

"Dr. Kullenbeck: You can't give this man ANY MONEY! He's a LUNATIC! He thinks he's re-growing his dead wife in his back yard, it's no joke. He's been cloning a dead person without a license! He took all our lab equipment without ANY authorization! Got a teenage girlfriend, flashes her tits!"

"It's potentially dangerous, probably illegal and definitely crazy."

"He is obsessed to re-create his wife...she died thirty years ago."

"He's a famed biologist. But she's more interested in anatomy."

"Peter O'Toole — Dr Harry Wolper"

"Vincent Spano — Boris"

"Mariel Hemingway — Meli"

"Virginia Madsen — Barbara"

"David Ogden Stiers — Dr Sid Kullenbeck"

"John Dehner — Paul"

"Kenneth Tigar — Pavlo"

"Ian Wolfe — Professor Brauer"

"[While giving guns to newly freed prisoners] C'mon! We're all going to die, die standing up!"

"[talks to the teenagers over their supplies] You think you're tough for eating beans every day? There's half a million scarecrows in Denver who'd give anything for one mouthful of what you got. They've been under siege for about three months. They live on rats and sawdust bread and sometimes... on each other. At night, the pyres for the dead light up the sky. It's medieval."

"[briefing Soviet Army officers and troops about the Wolverines; in Russian] What I despise most about warfare, is the hypocrisy it often breeds. I've heard euphemisms that we are 'containing the enemy', that our 'sector of pacification is growing'. These are the tactics of the lie. Lies have the stench of death and defeat. You can only win a war by exterminating the enemy! Do you know who we are fighting? [points to board] We are fighting Wolverines: small, ferocious animals. For them, you need a hunter. And you know, I am a hunter. From this moment on, there will be no further reprisals against civilians. This was stupid. Impotence. Comrades, if a fox stole your chickens, would you slaughter your pig because he saw the fox? No! You would hunt down the fox, find where it lives and destroy it! How do we do this? Become a fox."

"Patrick Swayze - Jed Eckert"

"C. Thomas Howell - Robert Morris"

"Lea Thompson - Erica Mason"

"Charlie Sheen - Matt Eckert"

"Darren Dalton - Daryl Bates"

"Jennifer Grey - Toni Mason"

"Brad Savage - Danny Bates"

"Doug Toby - Arturo "Aardvark" Mondragon"

"Powers Boothe - Lt. Col. Andrew "Andy" Tanner, USAF"

"Ben Johnson - Mr. Jack Mason"

"Harry Dean Stanton - Tom Eckert"

"Ron O'Neal - Colonel Ernesto Bella"

"William Smith - Colonel Strelnikov"

"Vladek Sheybal - General Bratchenko"

"Frank McRae - Mr. Teasdale"

"Roy Jenson - Mr. Samuel Morris"

"Pepe Serna - Mr. Mondragón"

"Lane Smith - Mayor Bates"

"Judd Omen - Nicaraguan Captain"

"Radames Pera - Sgt. Stepan Gorsky"

"I tell you what. Let’s drink to the one thing that never changes, to the one permanent part of a man’s life... honor, indeed. Burglar proof, weather proof, fool proof, one hundred-proof! Honor. Everything else is subject to the... powers that be. To the caprices of often inferior men. But your honor is your own, inviolate. So then- to honor."

"Now, they'll respect the rank. But God knows- they won't respect the man, unless he earns it. And the loyalty of men is always hard to earn."

"[Last words, firing a machine gun] It's beautiful, man! Beautiful!"

"George C. Scott - Brigadier General Harlan Bache, USA (Ret.)"

"Timothy Hutton - Cadet Major Brian Moreland"

"Ronny Cox - Colonel Kerby"

"Sean Penn - Cadet Captain Alex Dwyer"

"Tom Cruise - Cadet Captain David Shawn"

"Brendan Ward - Cadet Plebe Charlie Auden"

"Evan Handler - Cadet First Lieutenant Edward West"

"John P. Navin Jr. - Cadet Plebe Derek Mellott"

"Billy Van Zandt - Cadet Bug"

"Giancarlo Esposito - Cadet Captain J.C. Pierce"

"Donald Kimmel - Cadet Sergeant Billy Haris"

"Tim Wahrer - Cadet Major John Cooper"

"Wayne Tippit - Master Sergeant Kevin Moreland"

"[looking at the behinds of the Miss Black Awareness pageant contestants] I didn't come to preach to you today...But you know, when I look at these contestants! For the Miss Black Awareness Pageant, I feel good! I feel good, because I know there's a God somewhere! There's a God somewhere! Turn around ladies for me please! You know there's a God who sits on high and looks down low! Man cannot make it like this! Larry Flynt! Hugh Hefner! They can take the picture, but they can't make it! Only God above, the Hugh Hefner on high, can make it for ya!"

"Now I want you to reach onto God's unchanging hand. He helped Joshua fight the Battle of Jericho. He helped Daniel escape the lion's den. He helped Gilligan get off the island."

"This summer, Prince Akeem discovers America."

"The Four Funniest Men in America are Eddie Murphy."

"Eddie Murphy - Prince Akeem/Clarence/Randy Watson/Saul"

"Arsenio Hall - Semmi/Morris/Reverend Brown/last (ugly) woman in bar scene."

"James Earl Jones - King Jaffe Joffer"

"John Amos - Cleo McDowell"

"Madge Sinclair - Queen Aoleon"

"Shari Headley - Lisa McDowell"

"Eriq La Salle - Darryl Jenks"

"Allison Dean - Patrice McDowell"

"Cuba Gooding, Jr. - Boy in Barber Shop"

"Samuel L. Jackson - Hold Up Man at McDowell's"

"Doctor, those that'll tell don't know, and those that know won't tell."

"Let me tell you the story of right hand-left hand. It's a tale of good and evil. Hate: it was with this hand that Cain iced his brother. Love: these five fingers, they go straight to the soul of man. The right hand: the hand of love. The story of life is this: static. One hand is always fighting the other hand, and the left hand is kicking much ass. I mean, it looks like the right hand—Love—is finished. But hold on, stop the presses; the right hand is coming back. Yeah, he got the left hand on the ropes now, that's right. Ooh, it's a devastating right and Hate is hurt. He's down. Left-Hand Hate KO-ed by Love."

"The last time I trusted you, Mookie, I ended up with a son."

"WE LOVE ROLL CALL, Y'ALL! Boogie Down Productions, Rob Base, Dana Dane, Marley Marl, Olatunji, Chuck D, Ray Charles, EPMD, EU, Alberta Hunter, Run–D.M.C., Stetsasonic, Sugar Bear, John Coltrane, Big Daddy Kane, Salt-n-Pepa, Luther Vandross, McCoy Tyner, Biz Markie, New Edition, Otis Redding, Anita Baker, Thelonious Monk, Marcus Miller, Branford Marsalis, James Brown, Wayne Shorter, Tracy Chapman, Miles Davis, Force MDs, Oliver Nelson, Fred Wesley, Maceo, Janet Jackson, Louis Armstrong, Duke Ellington, Jimmy Jam, Terry Lewis, George Clinton, Count Basie, Mtume, Stevie Wonder, Bobby McFerrin, Dexter Gordon, Sam Cooke, Parliament-Funkadelic, Al Jarreau, Teddy Pendergrass, Joe Williams, Wynton Marsalis, Phyllis Hyman, Sade, Sarah Vaughn, Roland Kirk, Keith Sweat, Kool Moe Dee, Prince, Ella Fitzgerald, Dianne Reeves, Aretha Franklin, Bob Marley, Bessie Smith, Whitney Houston, Dionne Warwick, Steel Pulse, Little Richard, Mahalia Jackson, Jackie Wilson, Cannonball AND Nat Adderley, Quincy Jones, Marvin Gaye, Charles Mingus AND Marion Williams. We wanna thank you all for makin' our lives just a little brighter here on We Love Radio!"

"My people, my people, what can I say; say what I can. I saw it but didn't believe it; I didn't believe what I saw. Are we gonna live together? Together, are we gonna live?"

"Spike Lee - Mookie"

"Danny Aiello - Sal"

"Ossie Davis - Da Mayor"

"Ruby Dee - Mother Sister"

"Giancarlo Esposito - Buggin' Out"

"Bill Nunn - Radio Raheem"

"John Turturro - Pino"

"Richard Edson - Vito"

"Roger Guenveur Smith - Smiley"

"Rosie Perez - Tina"

"Joie Lee - Jade"

"Steve White - Ahmad"

"Martin Lawrence - Cee"

"Leonard L. Thomas - Punchy"

"Christa Rivers - Ella"

"Robin Harris - Sweet Dick Willie"

"Paul Benjamin - ML"

"Frankie Faison -Coconut Sid"

"Samuel L. Jackson - Mister Señor Love Daddy"

"Steve Park - Sonny"

"Rick Aiello - Officer Gary Long"

"Miguel Sandoval - Officer Mark Ponte"

"Luis Antonio Ramos - Stevie"

"John Savage - Clifton"

"Frank Vincent as Charlie"

"Richard Parnell Habersham - Eddie"

"Ginny Yang - Kim"

"Nicholas Turturro (extra) (uncredited)"

"What he really wanted was to spend Thanksgiving with his family. What he got was three days with the turkey."

"Pack in the laughter!"

"Steve Martin - Neal Page"

"John Candy - Del Griffith"

"Laila Robins - Susan Page"

"Michael McKean - State Trooper"

"Kevin Bacon - Taxi Racer"

"Dylan Baker - Owen"

"Olivia Burnette - Marti Page"

"Larry Hankin - Doobie"

"Richard Herd - Walt"

"Matthew Lawrence - Neal Page, Jr."

"Edie McClurg - Car Rental Agent"

"Bill Erwin - Man on Plane"

"Ben Stein - Wichita Airport Representative"

"Does a nightingale sing?"

"He move like a baboon, with two clubbed feet!"

"You move like a pregnant yak. Sit."

"You did not ask to be white. So perhaps that is not your fault. You did not ask to be here. Perhaps that is not your fault, either."

"Breathe out... slowly... do not gulp. If you do not breathe correctly, you do not move correctly. Pitiful. I can see the deadly hamburger has done its evil work. We must sweat the poison from your body and rebuild."

"Do you know why Americans call it 'fast food'? Because it speeds them on their way to their graves."

"The trained mind does not need a watch. Watches are a confidence trick invented by the Swiss."

"Professional assassination is the highest form of public service."

"For an apricot, yes. For a head of lettuce, even more so. But for a mountain I am not even begun in years. However, for a man I am just right."

"Fear is nothing more than a feeling. You feel hot. You feel hungry. You feel angry. You feel afraid. Fear can never kill you."

"Purge your mind of fear and believe in yourself. Without that belief, I can do nothing with you."

"Kung Fu, Karate, Ninjitsu... nothing more than shadows. Sinanju is the sun."

"I reloaded."

"(holding broken door handle after surving truck crash) In Korea, door handles do not break."

"[after having run across a span of water to reach a speedboat that Remo is piloting] You must run very fast."

"Place your hands on top of your head." [Kicks Remo in the crotch] "I did not say to keep them there."

"Conn MacCleary: [to Remo] You're going to be the Eleventh Commandment: 'Thou shalt not get away with it.'"

"Conn MacCleary: [to Remo] Remember, in out, like a duck mating."

"Gen. Scott Watson: So listen to this, George. Lyman four-putts. Four-putts, mind you. I thought he'd have a stroke. And I'd have claimed it if he had."

"Harold Smith: Guard, protect and cherish your land, for there is no afterlife for a place that started out as Heaven. Charles M. Russell, Montana, 1926."

"Look out! He's unarmed and dangerous!"

"The Destroyer Movie!"

"A most reluctant hero takes you on an action-adventure armed only with his fists and wits...and with his tongue planted in his cheek."

"Fred Ward - Remo Williams"

"Joel Grey - Chiun"

"Wilford Brimley - Harold Smith"

"J.A. Preston - Conn MacCleary"

"George Coe - Gen. Scott Watson"

"Charles Cioffi - George Grove"

"Kate Mulgrew - Maj. Rayner Fleming"

"Patrick Kilpatrick - Stone"

"Michael Pataki - Jim Wilson"

"Robert Gould Shaw, the son of wealthy Boston abolitionists, was 23 years old when he enlisted to fight in the War between the States.He wrote home regularly, telling his parents of life in the gathering Army of the Potomac.These letters are collected in the Houghton Library of Harvard University."

"The 54th Massachusetts Brigade lost over half its number in the assault on Ft. Wagner. The supporting white brigades also suffered heavily before withdrawing.The fort was never taken.As word of their bravery spread, Congress at last authorized the raising of black troops throughout the Union. Over 180,000 volunteered.President Lincoln credited these men of color with helping turn the tide of the war."

"[first lines, in a letter] Dear Mother, I hope you are keeping well and not worrying too much about me. You mustn't think that any of us are going to be killed, for they are collecting such a force here that an attack would be insane. The Massachusetts men passed through here this morning. How grand it is to meet the men from all the states, east and west, ready to fight fro their country, as the old fellows did in the Revolution. But this time, we must make it a whole country, for all who live here, so that all can speak. Before this war began, many of my regiment had never seen a negro, and now the roads are choked with the dispossessed. We fight for men and women whose poetry is not yet written, but which will presently be as enviable and as renowned as any. Last night, we heard of yet another defeat, but we are not disheartened. I am honored to be part of such a splendid company. They have made me captain, of which I am enormously proud. You would think it strange to see me giving orders to a hundred men, most of whom are older than I am. Thank you for sending my volume of Emerson. His words come home to me like truth. "A deep man," he says, "believes that the evil eye can wither, that the heart's blessing can heal, and that love can overcome all odds." My dearest love to Father. Your son, Robert."

"Good morning gentlemen, I am Colonel Robert Gould Shaw. I am your commanding officer. It is a great pleasure to see you all here today. It is my hope that the same courage, spirit, and honor, which has brought us together, will one day restore this Union. May God bless us all!"

"Dear Mother, the men learn very quickly; faster than white troops, it seems to me. They are almost grave and sedate under instruction and they restrain themselves. But the moment they are dismissed from drill, every tongue is relaxed and every ivory tooth is visible and you would not know from the sound of it that this is an army camp. They must have learned this from long hours of meaningless, inhuman work to set their minds free so quickly. It gives them great energy. And there is no doubt we will leave this state as fine a regiment as any that as marched. As ever, your son, Robert."

"It is my job to get these men ready. And I will. They have risked their lives to be here, they have given up their freedom. I owe them as much as they have given. I owe them my freedom...my life if necessary."

"If you men will take no pay, then none of us will! [holds up his own paycheck and tears it in half]"

"Dear Father, I need your help. Despite my many requests, it has become clear that we are to be used only for manual labor. Morale is low. The men's humor darkened by idleness and despair. Why keep drilling if they are never to be given the opportunity to prove themselves? I have written to Governor Andrew as well as to the general staff in Washington. But I feel that only a letter directly from you to Lincoln himself can have the desired effect. I can think of no other course. I am sure you both pray, as I do, that all this has not been in vain."

"There's more to fighting than rest, sir. There's character. There's strength of heart. You should have seen us in action two days ago. We were a sight to see! We'll be ready, sir. When do you want us?"

"[Last words] Come on, Fifty-Fourth!"

"For God's sake, men, you march like a bunch of crippled old goats! Jesus Christ, we're gonna be here day and night till we get this right! One, one! Company, halt! About-face! You are ugly Mexican, African fucking whores! We're gonna work on this day and night till we get this right, gentlemen. Forward at the half step. March!"

"[to Thomas Searles] Oh, look at this. Bonnie Prince Charlie. Are you a gentleman? Are you a member of Congress or something? Or are you the bloody prince of Africa?! [Searles glances at him] Well, don't look at me! [grabs his jaw, points his face forward] Look straight ahead! Look straight ahead! I'll eat your ass up, boy-o!"

"Mr. Rawlins, this regiment was formed with the promise that only white officers would be commissioned to lead it. Nothing was mentioned, however, about noncommissioned officers. Therefore, in recognition of initiative taken not only for yourself, but on behalf of the entire regiment, you are hereby awarded the rank of Sergeant Major. Congratulations."

"Let me tell you something boy. You can march like the white man. You can talk like him. You can learn his songs. You can even wear his suits. But you ain't never gonna be nothing to him but an ugly ass chimp in a blue suit."

"[addressing the 54th the night before battle] I ain't much about no prayin,' now. I ain't never had no family, and...killed off my mama. Well, I just...Y'all's the onliest family I got. I love the 54th. Ain't even much a matter what happens tomorrow, 'cause we men, ain't we? We men."

"Sgt. Maj. John Rawlins: [to a group of children] That's right, honeys. Ain't no dream. We runaway slaves, but we come back fightin' men. Go tell your folks how kingdom come in the year of jubilee!"

"Sgt. Maj. John Rawlins: If tomorrow is our great getting up moment...If tomorrow we have to meet the judgment day...Heavenly Father, we want you to let our folks know...that we died facing the enemy. We want'em to know, that we went down standing up! Amongst those that are fighting against our oppression. We want'em to know, Heavenly Father, that we died fighting for freedom!"

"Pvt. Jupiter Sharts: [praying aloud] Tomorrow we goes into battle. So Lordy, let me fight with the rifle in one hand and the Good Book in the other. So that if I may die at the muzzle of the rifle...die on water, or on land, I may know that you blessed Jesus almighty are with me...and I will have no fear."

"Union Corporal: "Give'em hell 54th!""

"Matthew Broderick - Col. Robert Gould Shaw"

"Denzel Washington - Pvt. Trip"

"Cary Elwes - Maj. Cabot Forbes"

"Morgan Freeman - Sgt. Maj. John Rawlins"

"Jihmi Kennedy - Pvt. Jupiter Sharts"

"Andre Braugher - Cpl. Thomas Searles"

"John Finn - Sgt. Maj. Mulcahy"

"Donovan Leitch - Capt. Charles Morse"

"JD Cullum - Henry Sturgis Russell"

"Alan North - Gov. John Andrew"

"Bob Gunton - Gen. Harker"

"Cliff De Young - Col. James M. Montgomery"

"Richard Riehle - Kendric, quartermaster"

"Raymond St. Jacques - Frederick Douglass"

"[after subduing a group of terrorists] I'm Lt. Frank Drebin, Police Squad! And don't ever let me catch you guys in America!"

"My name is Sgt. Frank Drebin, Detective Lieutenant Police Squad."

"It's true what they say: Cops and women don't mix. It's like eating a spoonful of Drano. Sure, it'll clean you out, but it'll leave you hollow inside."

"Leslie Nielsen as Lt. Frank Drebin"

"Priscilla Presley as Jane Spencer"

"Ricardo Montalbán as Vincent Ludwig"

"George Kennedy as Capt. Ed Hocken"

"O. J. Simpson as Det. Nordberg"

"Alas... how terrible is wisdom when it brings no profit to the wise, Johnny?"

"You know what they say about slugs. They always leave slime in their tracks."

"The flesh is weak, Johnny. Only the soul is immortal. [darkly] And yours belongs to ME [eyes chillingly shine yellow]."

"They say there's just enough religion in the world to make men hate one another, but not enough to make them love."

"No matter how cleverly you sneak up on a mirror, your reflection always looks you straight in the eye."

"It will scare you to your very soul."

"Harry Angel is searching for the truth... Pray he doesn't find it."

"Harry Angel has been hired to search for the truth... Pray he doesn't find it."

"Nothing can prepare you for the ending of Angel Heart."

"Mickey Rourke - Harry Angel"

"Robert De Niro - Louis Cyphre"

"Lisa Bonet - Epiphany Proudfoot"

"Charlotte Rampling - Margaret Krusemark"

"Stocker Fontelieu - Ethan Krusemark"

"Brownie McGhee - Toots Sweet"

"Michael Higgins - Dr. Albert Fowler"

"Elizabeth Whitcraft - Connie"

"Flash, I love you! But we only have fourteen hours to save the Earth!"

"Keeping our word is one of the things that make us better than you."

"I'd much rather see you on my side, than scattered into... atoms."

"Pathetic earthlings. Hurling your bodies out into the void, without the slightest inkling of who or what is out here. If you had known anything about the true nature of the universe, anything at all, you would've hidden from it in terror."

"Are your men on the right pills? Maybe you should execute their trainer! [to Klytus, as Flash successfully battles palace guards]"

"[from the trailer] Pathetic earthlings... who can save you now?"

"Open fire! All weapons, now! Charge the lightning field! I take personal responsibility in the Emperor's name!"

"We're going to empty your memory as we might empty your pockets... Doctor."

"Confess!... and we won't hurt you. We don't like doing this at all!"

"We do not lead traitors to the Imperial presence."

"[to Flash] Welcome back from the grave. [Princess Aura] I knew you were up to something, though I'll confess I never thought of necrophilla."

"[to Flash] Where you go, I follow. [then to all] Listen to me! Listen! There is something finer in this galaxy than Ming's law!"

"Tell me more about this man Houdini. [to Zarkov, while blindfolded and manacled to a dungeon wall]"

"[brandishing a laser rifle at some technicians] FREEZE you bloody bastards! Deactivate the lightning field!"

"We owe everything to Flash!"

"You know Ming's law, Barin. Outside his own kingdom, the hunter becomes the hunted."

"Gordon's alive?! [on learning that Flash survived the Imperial assault]"

"Flying blind on a rocket cycle?"

"That must be one hell of a planet you men come from!"

"Squadron 40! DIVE!"

"Impetuous boy! Ah, well... who wants to live forever? DIVE! (youtube.com)"

""All creatures will make merry" ~ First banner"

""Under pain of Death" ~ Second banner"

"He'll save every one of us!"

"Pathetic earthlings... Who can save you now?"

"For years, he's been the last word in professional football. Now, he's Earth's only chance for a future."

"Sam J. Jones – Flash Gordon"

"Melody Anderson – Dale Arden"

"Max von Sydow – The Emperor Ming"

"Topol – Dr. Hans Zarkov"

"Ornella Muti – Princess Aura"

"Timothy Dalton – Prince Barin"

"Brian Blessed – Prince Vultan"

"Peter Wyngarde – Klytus"

"Mariangela Melato – Kala"

"I have a dream. It's not a big dream, it's just a little dream. My dream - and I hope you don't find this too crazy - is that I would like the people of this community to feel that if, God forbid, there were a fire, calling the fire department would actually be a wise thing to do. You can't have people, if their houses are burning down, saying, "Whatever you do, don't call the fire department!" That would be bad."

"Chris McConnell: [to Roxanne] Your breasts, they're like melons. No, no, they're like pillows. Can I fluff your pillows?"

"Andy: That's our new computer. We can pinpoint any fire in town with that. It's perfect for us, because, you know, we're the fire department."

"Every summer, Chevy Chase takes his family on a little trip. This year, he went too far."

"Chevy Chase - Clark Griswold"

"Beverly D'Angelo - Ellen Griswold"

"Imogene Coca - Aunt Edna"

"Randy Quaid - Cousin Eddie"

"Anthony Michael Hall - Russell "Rusty" Griswold"

"Dana Barron - Audrey Griswold"

"Eddie Bracken - Roy Walley"

"Brian Doyle-Murray - Kamp Komfort Clerk"

"Miriam Flynn - Cousin Catherine"

"James Keach - Motorcycle Cop"

"Eugene Levy - Car Salesman"

"Frank McRae - Grover"

"John Candy - Russ Lasky, Guard at Walley World"

"Christie Brinkley - The Girl in the Red Ferrari"

"Jane Krakowski - Cousin Vicki"

"[Fighting Cooke] I eat Green Berets for breakfast and right now, I'm very hungry!"

"All that matters to me now is Jenny."

"[Before fighting Bennett] C'mon, Bennett, let's party!"

"[After throwing a pipe through him with steam coming out of it] Let off some steam, Bennett."

"[Cooke says, "Fuck you, asshole", but discovers his gun is empty] Fuck you, asshole."

"You're a funny guy, Sully. I like you. That's why I'm going to kill you last."

"[Dangling Sully over the cliff] Listen. Loyalty is very touching, but it is not the most important thing in your life right now. But what IS important is GRAVITY! I have to remind you, Sully: This is my weak arm!"

"[to Cindy after dropping Sully off a cliff] I let him go."

"[After breaking Henrique's neck on the plane] Don't disturb my friend. He's dead tired."

"[After killing Cooke] We'll take Cooke's car. He won't be needing it."

"¿Cómo estás?"

"[Activating the seaplane] Come on, you piece of shit! Fly or DIE!!"

"[After activating the seaplane] Works every time."

"[hearing explosions] Welcome back, John. So glad you could make it!"

"John, I'm not going to shoot you between the eyes, I'm going to shoot you between the balls!"

"They offered me a hundred grand. You want to know something? When I found out I could get my hands on you, I said I'd do it for nothing."

"John, stick your head out, one shot, right between the eyes, I'll make it quick, just for old time sake."

"Ever since you had me thrown out of your unit, I've waited to pay you back. Do you know what today is Matrix?... Pay day!"

"John!.. I'll be ready, John!"

"CATCH... YOU!!!"

"John, I feel good!"

"NO - Not daddy..."

"What does it feel like to be a dying man?... you're a dead man, John!"

"Tranquilizers... I wanted to use the real thing!!"

"You're getting old, John. You're getting old."

"I can beat you! I don't need the girl! I DON'T NEED THE GIRL! I don't need the gun, John! I can beat you! I DON'T NEED NO GUN! I'M GONNA KILL YOU NOW!"

"Not nearly as nice as watching him smash your face in."

"Got a warrant?"

"Hey there."

"(Looking at a lavender sweater) I'm not a big fan of really the entire turquoise color tree."

"What is that Army helicopter doing here? You said you wouldn't go away again. You said you were done."

"Dad, that is so old."

"Is it bad?"

"(In response to "What's in this?", referring to a sandwich) You don't wanna know."

"(General Kirby asks her to let him talk to John in private) No way, Jose"

"If there's a mission that no man could survive...then he's the man for the job."

"Let's Party!"

"Somewhere... somehow... someone's going to pay."

"[from TV spot] The odds are unbeatable... but he's unstoppable."

"Arnold Schwarzenegger - Col. John Matrix"

"Rae Dawn Chong - Cindy"

"Dan Hedaya as Arius"

"Vernon Wells - Bennett"

"James Olson - Gen. Franklin Kirby"

"David Patrick Kelly - Sully"

"Alyssa Milano - Jenny Matrix"

"Bill Duke - Cooke"

"Bill Paxton - Interceptor"

"Drew Snyder - Lawson"

"Sharon Wyatt - Leslie"

"Michael DeLano - Forrestal"

"Bob Minor - Jackson"

"Mike Adams - Harris"

"Carlos Cervantes - Diaz"

"Lenny Juliano - Soldier"

"Charles Meshack - Henriques"

"Reap the whirlwind, Sheriff Brady. Reap it."

"If we're caught, we're gonna hang... But there's many a slip twixt the cup and the lip."

"You know, Sir, I do admire you, and I sure would like to touch the gun that's gonna kill Billy the Kid."

"Reap it, Murphy, you son of a bitch."

"Hey Colonel shit head, you can kiss my ass!""

"REGULATORS, MOUNT UP!"

"Papers can't do anything right."

"Regulators, we regulate any stealing of his property and we damn good too. But you can't be any geek off the street, gotta be handy with the steel if you know what I mean, earn your keep!"

"Did you know pigs is as smart as dogs? It's true. I knew this fella in El Capitan who taught his pig to bark at strangers."

"Hey, you ain't no regulator, boy. You just stay here with the pork. They're smarter than you anyway; you might learn something."

"I'm not a pistoleer or a knifesmith like that greaser Chavez Chavez over there. I'm a pugilist."

"It ain't easy having pals."

"Six reasons why the west was wild."

"Don't count the odds, count the bodies."

"The odds were a hundred to one."

"Emilio Estevez - William H. "Billy the Kid" Bonney"

"Kiefer Sutherland - Josiah Gordon "Doc" Scurlock"

"Lou Diamond Phillips - Jose Chavez y Chavez"

"Charlie Sheen - Richard "Dick" Brewer"

"Dermot Mulroney - "Dirty Steve" Stephens"

"Casey Siemaszko - Charlie Bowdre"

"Terence Stamp - John Turnstall"

"Jack Palance - Lawrence Murphy"

"Terry O'Quinn - Alexander McSween"

"Sharon Thomas - Susan McSween"

"Geoffrey Blake - J. McCloskey"

"Brian Keith as Buckshot Roberts"

"Patrick Wayne - Pat Garrett"

"Laughter through tears is my favorite emotion."

"Oh get with it, Clairee. This is the '80s. If you can achieve puberty, you can achieve a past."

"I would rather have thirty minutes of wonderful than a lifetime of nothing special."

"I'm not crazy, M'Lynn, I've just been in a very bad mood for 40 years!"

"Well, as somebody always said: if you can't say anything nice about anybody, come sit by me!"

"Sometimes laughter is a matter of life and death."

"The funniest movie ever to make you cry."

"Sally Field - Mary Lynn "M'Lynn" Eatenton"

"Dolly Parton - Truvy Jones"

"Shirley MacLaine - Louisa "Ouiser" Boudreaux"

"Daryl Hannah - Annelle Dupuy Desoto"

"Olympia Dukakis - Clairee Belcher"

"Julia Roberts - Shelby Eatenton Latcherie"

"Tom Skerritt - Drum Eatenton"

"Sam Shepard - Spud Jones"

"Bill McCutcheon - Owen Jenkins"

"Ann Wedgeworth - Aunt Fern Thornton"

"Dylan McDermott - Jackson Latcherie"

"Kevin J. O'Connor (actor) - Sammy Desoto"

"Tom Hodges - Louie Jones"

"Jonathan Ward - Jonathan Eatonton"

"Knowl Johnson - Tommy Eatonton"

"Are you taking any prescription medication?"

"If the syrup is on the table after the pancakes, then it will definitely be too late."

"Charlie Babbitt made a joke."

"What you have to understand is, four days ago he was only my brother in name. And this morning we had pancakes."

"Charlie and Raymond. They are strangers. They are brothers. They have just met."

"A journey through understanding and fellowship."

"Dustin Hoffman - Raymond Babbitt"

"Tom Cruise - Charlie Babbitt"

"Valeria Golino - Susanna"

"Jerry Molen - Dr. Gerald Bruner"

"Ralph Seymour - Lenny"

"Michael D. Roberts - Vern"

"Bonnie Hunt - Sally Dibbs"

"Beth Grant - Mother at Farm House"

"Lucinda Jenney - Iris"

"Barry Levinson - Doctor"

"You have two emotions, silence and rage."

"Jack, nothing personal, but fuck off."

"[after Mosely takes his cigarettes for the second time] Why don't you quit? It'd be cheaper for both of us."

"Is this moron #1? Put moron #2 on the phone."

"Don't say a word to me, Sidney, don't say a fucking word to me. I'll get up and I'll bury this telephone in your head."

"Sidney, siddown, relax, have a sandwich, drink a glass of milk, do some fuckin' thing."

"So I'm finally in the presence of greatness, huh? The Duke. The guy that steals money from the scum of the earth and gives it to the unfortunates of the world. I wanted to meet you face-to-face. Did you actually think you were gonna steal my money and get away with it? I stopped by here to tell you two things. Number one is that you're gonna die tonight. Number two, I'm gonna go home, have a nice hot meal, I'm gonna find your wife, and I'm gonna kill her too."

"Let me tell you two stupid motherfuckers something. I don't want to get another phone call like this because if I do I'm gonna get on a fucking plane and I'm going to blowtorch the both of you. You understand?"

"A tough bounty hunter. A sensitive criminal."

"Robert De Niro has to get the FBI off his case, the mob off his trail, and Charles Grodin off his back!"

"This could be the beginning of a beautiful friendship."

"Taking The Midnight Run Is A Hell Of A Way To Make A Living"

"Monday... Escape with their lives from New York... Tuesday... Impersonate F.B.I. agents in Chicago... Wednesday... Steal plane in New Mexico... Thursday... Almost kill each other by accident... Friday... Almost kill each other on purpose..."

"Charles Grodin embezzled 15 million dollars. The mob wants him dead. The F.B.I. wants him alive. Robert De Niro just wants him to shut up."

"Robert De Niro - Jack Walsh"

"Charles Grodin - Jonathan "The Duke" Mardukas"

"Yaphet Kotto - Special Agent Alonzo Mosely"

"John Ashton - Marvin Dorfler"

"Dennis Farina - Jimmy Serrano"

"Joe Pantoliano - Eddie Moscone"

"Richard Foronjy - Tony"

"Robert Miranda - Joey"

"Jack Kehoe - Jerry Geisler"

"Wendy Phillips - Gail"

"Danielle DuClos - Denise Walsh"

"Philip Baker Hall - Sidney"

"Tom McCleister - Bill "Red" Wood"

"[This scene is intercut with scenes of the MCP addressing its captive Programs, and of Flynn and Yori steering Sark's ship toward the MCP.]"

"In the future video games battles will be a matter of life and death."

"The Electronic Gladiator"

"Trapped in a fight to the finish inside the video world he created. [UK theatrical]"

"A world inside the computer where man has never been before. Never before now."

"On the other side of the screen, it all looked so easy..."

"Trapped inside an electronic arena, where love, and escape, do not compute!"

"When hacker Kevin Flynn (Jeff Bridges) first got zapped inside a computer grid in Tron, the digitized ether was a much simpler place. Black, minimalist, streaked with neon piping and floaty geometric figures, it was home to enslaved "programs" who played deadly gladiatorial games (Frisbee, Jai-alai) at the whim of an evil operating system with a giant Lego head. Everyone wore dorky uniforms. There was no downtown, no crowded arenas, no nightlife and certainly no drunken hobos."

"The addition of that stately "legacy" to the title strains to confer a retrospective classic status on Disney's virtual reality sci-fi thriller from 1982, about people trapped in a computer game and forced to engage in gladiatorial combat. It might have come as a surprise to some that Tron had much of a legacy; the film was overshadowed by Spielberg's ET in that year, and in the UK suffered the mortification of being upstaged by Peter Greenaway's The Draughtsman's Contract. Yet a generation grew up prizing Tron for being audacious, ahead of its time, a futurist trailblazer about games culture and the digital world."

"The interior of a computer is a fine and private place, but none, I fear, do there embrace, except in "Tron," a dazzling movie from Walt Disney in which computers have been used to make themselves romantic and glamorous. Here's a technological sound-and-light show that is sensational and brainy, stylish, and fun."

"In an age of amazing special effects, "Tron" is a state-of-the-art movie. It generates not just one imaginary computer universe, but a multitude of them. Using computers as their tools, the Disney filmmakers literally have been able to imagine any fictional landscape, and then have it, through an animated computer program. And they integrate their human actors and the wholly imaginary worlds of Tron so cleverly that I never, ever, got the sensation that I was watching some actor standing in front of, or in the middle of, special effects. The characters inhabit this world."

"There is one additional observation I have to make about "Tron," and I don't really want it to sound like a criticism: This is an almost wholly technological movie. Although it's populated by actors who are engaging (Bridges, Cindy Morgan) or sinister (Warner), it is not really a movie about human nature. Like "Star Wars" or "The Empire Strikes Back," but much more so, this movie is a machine to dazzle and delight us. It is not a human-interest adventure in any generally accepted way. That's all right, of course. It's brilliant at what it does, and in a technical way maybe it's breaking ground for a generation of movies in which computer-generated universes will be the background for mind-generated stories about emotion-generated personalities. All things are possible."

"The original TRON, in which Jeff Bridges’ hacker Kevin Flynn is sucked into a computer game of his own devising, was significant more for what it attempted than what it achieved. Created in the pre-dawn of computer graphics, it pointed to a rapidly approaching world where, to use TRON lingo, “the digital frontier would shape the human condition.” As dumb as the tech-heavy script was, and as primitive as the graphics were (today they look like an animated black light painting), the picture was undeniably savvy about the future. It was almost there and ahead of most of the rest of us: TRON came out two years before the Macintosh computer debuted and about a dozen years before the Internet went public."

"“Tron” has influenced CGI animators worldwide. In fact, Disney/Pixar’s John Lasseter has acknowledged that “Without ‘Tron,’ there would be no ‘Toy Story.’” But back in 1982, not only did “Tron” receive mixed reviews from critics and audiences, Hollywood didn’t welcome the film, which paid homage to “The Wizard of Oz” and “Metropolis,” with open arms."

"“I say the lesson that one learns is that you pay the price for going against the status quo,” he admitted. “It’s difficult to emphasize enough how terrified of computers and technology people were, and Hollywood in particular. The threat that ‘Tron’ represented was that somehow computers were going to get involved with movie making and that they were going to get involved with our lives.” And Hollywood was shocked it was Disney that was “suggesting” that computers were going to be part of everyone’s lives. “When I think about Disney, I always think about how they provide nostalgia and a certain amount of comfort that comes from nostalgia. It’s interesting to see how over the decades ‘Tron’ has now gained a patina of nostalgia. In that sense it’s become more of a Disney film now then it was back then. It was very upsetting to people that Disney crossed the line and did something for which there was no precedent.”"

"TRON means to be a gloriously puerile movie, the full-fledged screen embodiment of a video game. It even means to go to the heart of video gamesmanship, and its premise is very promising in its way. What if those tiny Space Invaders and Pac-Men were real creatures, miniature gladiators sent to do battle for the amusement of their heartless captors?"

"There are almost no scenes that don't depend heavily on special effects -effects added after the acting was done. How can the performers keep from seeming as if they're acting in a void? Anyone not discouraged by these drawbacks will find Tron a wonder to behold. Its computer sequences exist in a blue-gray scheme filled with flashing lights, speeding objects and dizzying motion. Its special effects are wonderfully new. They are also numbing after a while. And how could they not be? They're loud, bright and empty, and they're all this movie has to offer."

"The film would never come close to an Oscar, but that doesn’t make it unimportant. Nobody talks about cyberspace anymore—sci-fi writer William Gibson had just coined the term when Tron came out. But that’s what the movie gave shape to—a “consensual hallucination,” as Gibson wrote, “bright lattices of logic unfolding across that colorless void.” Though Gibson says he had an entirely different look in mind. “An issue of Omni magazine that contained one of my earliest cyberspace stories also contained a preview of Tron,” he says. “If Disney was into that stuff, I thought, I wasn’t even remotely ahead of the curve.”"

"As Tron evolved, it became more of an oddball project. “We were a threat to the animation department. We were a threat to the special effects department. We were a threat to conventional live-action,” Lisberger says. Star Wars made a kind of sense, with its knights and princesses. But combine the avant-garde production design of Tron (and multiple outside contractors doing CG) with what turned into a very religious script about living “programs” trying to commune with godlike “users” in the real world? In the actual real world, hardly anyone had ever touched a computer. You can see how that story would seem strange."

"Computer-generated monsters, from the trolls in “Harry Potter” and “Lord of the Rings” to the dinosaurs in the “Jurassic Park” movies, have replaced stop-motion puppets and men in rubber suits. But the idea that the lightcycles Tron and Flynn ride existed only on film and in computer memory banks dumbfounded people two decades ago."

"“Tron” may have exerted its greatest influence through its crew of young artists who have gone on to do important work in animation and special effects: Tim Burton (director of “Planet of the Apes,” “Ed Wood,” “Edward Scissorhands”), Roger Allers (co-director of “The Lion King”), Barry Cook (co-director of “Mulan”), Dennis Edwards (producer of “Osmosis Jones”), Andy Gaskill (art director of “The Lion King”), Bill Kroyer (director of “Fern Gully: The Last Rainforest”), Jerry Rees (director of “The Brave Little Toaster”)."

"Jeff Bridges - Kevin Flynn/Mr. Codified Likeness Utility "Clu""

"Bruce Boxleitner - Dr. Alan T. Bradley/Mr. Tron JA-307020"

"David Warner - Edward "Ed" Dillinger, Sr./Commander System Analytics and Reporting Kernel "Sark" ES-1117821/Master Control Program "MCP-751" 751"

"Cindy Morgan - Lora Baines/Princess Yori"

"Barnard Hughes - Dr. Walter Gibbs, Ph.D./Mr. Dumont"

"[slaps himself] How does that feel? Feels good! Now do it again! (slaps himself) The Tuck Pendleton Machine - zero defects!"

"I'm in a man, I'm in a strange man, I'll be a son of a bitch, I'm in a strange man surrounded by strangers in a strange room!"

"[Taps a light to fix it] State of the art."

"Look Ozzy, who's nervous now ok? I know what our objectives are. I've done my homework and I can do this little job blindfolded, so everyone just calm down."

"[The syringe containing the miniaturized pod is being shaken around in Ozzy's pocket] Ozzy? Am I being punished?"

"This guy is definitely not firing on all eight cylinders, Jack."

"The Jack Putter Machine, zero defects. (leans back and sighs, to himself) God help us."

"When things are at their darkest, pal, it's a brave man who can kick-back and party!"

"I'M POSSESSED!"

"Would I be in a doctor's office if I was feeling all right?"

"Please, I beg of you for some aspirin!"

"Nuclear weapons, Jack. They mean nothing. Everybody's got them, no-one has the balls to use them. Am I right? Space, you say? Space is a flop, didn't you know that? An endless junkyard of orbiting debris. Ah, but...miniturization, Jack. That's the ticket. That's the edge that everybody's been looking for. Who will have that edge, Jack? What country will control miniturization? Frankly, I don't give a shit - I'm only in this for the money! And that's why, Jack, we've got to get that little pod out from inside of you!"

"Warning, approaching tricuspid valve of heart. Do not enter! Do not enter heart!"

"Foreign object detected, approaching through esophageal passage."

"Turbo thruster one, disabled."

"Well, it was a hit on video. It was one of the first big videos, and it was discovered on video, basically. Although audiences liked it in theatres - when I went, they were in stitches - the ad campaign was so terrible for that movie. It was just a giant thumb with a little tiny pod on it. You couldn’t tell that it was a comedy - you couldn’t tell anything - and it had a terrible title, because we could never figure out a better one."

"Today, you would be working on a computer and you would never go outside when it came to getting all the effects. At ILM, they actually built all those things for "Innerspace". The miniature work won an Oscar. I don't know that they could be that much better today."

"Inside Jack Putter, there's a hero trying to get out."

"An adventure of incredible proportions."

"Dennis Quaid - Lt. Tuck Pendleton"

"Martin Short - Jack Putter"

"Meg Ryan - Lydia Maxwell"

"Kevin McCarthy - Victor Scrimshaw"

"Vernon Wells - Mr. Igoe"

"Robert Picardo - The Cowboy"

"[from trailer] Imagine a boy who didn't know he had become a man. Imagine a girl who did know she had become a woman. Imagine two people who knew nothing about love - and so knew everything."

"The most sensuous love story is a story of innocence."

"A sensuous story of natural love."

"A story of natural love."

"Brooke Shields - Emmeline Lestrange"

"Christopher Atkins - Richard Lestrange"

"Bradley Pryce - Little Paddy Lestrange"

"Leo McKern - Paddy Button"

"William Daniels - Arthur Lestrange"

"Alan Hopgood - Captain"

"Gus Mercurio - Officer"

"Ah, Kirk, my old friend. Do you know the Klingon proverb that tells us revenge is a dish that is best served cold? It is very cold in space."

"[last words] Now. Now, you can't get away. From Hell's heart, I stab at thee. For hate's sake, I spit my last breath at thee."

"[eulogizing Spock] We are assembled here today to pay final respects to our honored dead. And yet it should be noted, that in the midst of our sorrow, this death takes place in the shadow of new life, the sunrise of a new world; a world that our beloved comrade gave his life to protect and nourish. He did not feel this sacrifice a vain or empty one, and we will not debate his profound wisdom at these proceedings. Of my friend, I can only say this: Of all the souls I have encountered in my travels, his was the most.... [voice breaks] human."

"I’ve always wanted to make a movie with submarines and destroyers and people torpedoing each other—a sort of case of arrested development—but I thought, ‘Oh, OK, this is about the Navy. I know how to do this. … And Khan, because I’d seen that episode ‘Space Seed,’ and I thought, ‘Oh, that guy must be pretty angry by now.'"

"The cast and crew of Star Trek wish to dedicate this film to the men and women of the spaceship Challenger whose courageous spirit shall live to the 23rd century and beyond..."

"How on Earth can they save the future?"

"Beaming down to Earth December 12, 1986."

"The crew of the starship Enterprise is coming home."

"The key to saving the future can be found only in the past."

"Only the technology of the future, can save what's endangering the past."

"They travelled back where 23rd century man had never gone before. To a mad, crazy, outrageous time: 1987."

"What the hell was that? What's he tippin' his hat at you for? Don't he know we're married? [to Wes] Hey Tattoo! You see this here. That there's a wedding ring. That means we're married! She's mine, okay?"

"[to Pam] Contrary to what you or your daddy think, all cowboys ain't dumb. Some of 'em got smarts real good, like me."

"[at her wedding] My legs are sweatin', momma."

"[to Sissy] You can't expect a man like me to be faithful to any woman."

"John Travolta - Bud Davis"

"Debra Winger - Sissy Davis"

"Scott Glenn - Wes Hightower"

"Barry Corbin - Uncle Bob Davis"

"Brooke Alderson - Aunt Corene Davis"

"James Gammon - Steven Strange"

"Madolyn Smith-Osborne - Pam"

"Cooper Huckabee - Marshall"

"Mickey Gilley - Himself"

"Johnny Lee - Himself"

"Bonnie Raitt - Herself"

"Charlie Daniels - Himself"

"Shug like honey. And now I's just like a bee."

"I'm poor, black; I may even be ugly. But dear God! I'm here! I'm here!"

"The more things change, the more they stay the same."

"[to Albert] The jail you planned for me is the one you're gonna rot in."

"See Daddy, sinners have soul too."

"I think it pisses God off when you walk by the color purple in a field and don't notice it."

"[to Celie] You sho' is ugly!"

"All my life I had to fight. I had to fight my daddy. I had to fight my uncles. I had to fight my brothers. A girl child ain't safe in a family of mens, but I ain't never thought I'd have to fight in my own house!! I loves Harpo, God knows I do. But I'll kill him dead 'fo I let him beat me..."

"I done had enough bad luck to keep me laughin' the rest of my life. Sat in that jail. I sat in that jail til I nearby done rot to death. I know what it like, Ms. Celie, to wanna go somewhere and cain't. I know what it like to wanna sing... and have it beat outch'ya. I want to thank you, Miss Celie, 'fo everything you done for me. I 'members that day I was in the store with Miss Millie - I's feelin' real down. I's feelin' mighty bad. And when I see'd you — I knowed there is a God. I knowed there is a God. And one day I was gonna get to come home."

"[to Albert] Boy, you let this ol' nappy-headed girl cuss you out like that? You sittin' at the head of your own dinner table and actin' like a waiter."

"Celie, you has my sympathy. Ain't many women allow they husband's ho to lay up in they house."

"[Sofia begins to laugh after years of silence] My God, the dead has arisen."

"It's about life. It's about love. It's about us."

"Alice Walker's Pulitzer Prize Winning Story."

"I loved [the book]The Color Purple. The movie disappointed me because so many people I do love were bowled over by it. I felt it was a romantic treatment that perhaps could have been dealt with more honestly."

"Danny Glover - Albert"

"Whoopi Goldberg - Celie"

"Margaret Avery - Shug Avery"

"Oprah Winfrey - Sofia"

"Willard E. Pugh - Harpo"

"Akosua Busia - Nettie"

"Desreta Jackson - Young Celie"

"Adolph Caesar - Old Mister"

"Rae Dawn Chong - Squeak"

"Have you ever had a really big secret?"

"Yesterday 12-year old Josh Baskin wanted money, cars, and girls. Today he got all those."

"You're only young once!"

"You're Only Young Once But For Josh It Might Just Last A Lifetime."

"Yesterday Josh Wanted Everything In Life - Girls...Money...Cars... Today, All His Wildest Dreams Have Come True!"

"Tom Hanks - Josh Baskin"

"David Moscow - Young Josh"

"Elizabeth Perkins - Susan Lawrence"

"Robert Loggia - Mac MacMillan"

"John Heard - Paul Davenport"

"Jared Rushton - Billy Kopecki"

"Jon Lovitz - Scotty Brennen"

"Mercedes Ruehl - Mrs. Baskin"

"Josh Clark - Mr. Baskin"

"Debra Jo Rupp - Miss Patterson"

"We've got bush! We've got bush!"

"[singing] Clap your hands everybody, and everybody clap your hands. We are Lambda Lambda Lambda and Omega Mu. We come here on stage tonight to do our show for you. We got a rocking rhythm and a hi-tech sound that will make you move your body down to the ground. We got Poindexter on the violin, and Lewis and Gilbert will be joining in. We got Booger Presley on the mean guitar and a rap by little ol' me Lamar. We got Takashi beating on his gong, the boys and the Mu's are clapping along. And just when you thought, ya seen it all, along comes a Lambda four foot tall. So Wormser come on out here on the floor, so we can move our bodies, like never before. Break!"

"You know, when you were a baby in your crib, your father looked down upon you and had one wish: "Someday my son will grow up to be a man". Well look at you now; you just got your asses whipped, by a bunch of goddamn nerds. [removes hat and throws it against wall] NERDS!! Well, if I were you I would do something about it. I would get up and redeem myself in the eyes of my father, my Maker, and my coach!"

"They've been laughed at, picked on and put down. But now it's time for the odd to get even! Their time has come!"

"It's time for the odd to get even!"

"Their time has come!"

"The time has come for REVENGE OF THE NERDS"

"Let the battle begin!"

"From a preview trailer as the 20th Century Fox introduction plays: Star Wars. Butch Cassidy and the Sundance Kid, The Sound of Music: 20th Century Fox has had a long and proud tradition of showing uplifting movies about facing up to prevailing odds. Now in this manner, we are pleased to present another timeless film to this lineup: Revenge of the Nerds!"

"Curtis Armstrong — Dudley "Booger" Dawson"

"Timothy Busfield — Arnold Poindexter"

"Robert Carradine — Louis Skolnick"

"Andrew Cassese — Harold Wormser"

"James Cromwell — Mr. Skolnick"

"Anthony Edwards — Gilbert Lowell"

"Donald Gibb — Fred "The Ogre" Palowakski"

"Ted McGinley — Stan Gable"

"John Goodman — Coach Harris"

"Michelle Meyrink — Judy"

"Julia Montgomery — Betty Childs"

"Matt Salinger — Danny Burke"

"Larry B. Scott — Lamar Latrell"

"Brian Tochi — Toshiro Takashi"

"David Wohl — Dean Ulich"

"[as the Nazis are opening the Ark] Marion, don't look at it. Shut your eyes, Marion. Don't look at it, no matter what happens!"

"Don't look, Marion! Keep your eyes shut!"

"God damn it, Indy, where doesn't it hurt?"

"You can't do this to me! I'm an American!"

"We never seem to get a break, do we?"

"[to Colonel Dietrich] Let me ask you this: Would you feel more comfortable opening the Ark in Berlin for your Führer? Finding out, only then, if the sacred pieces of the Covenant are inside? Knowing only then whether you have accomplished your mission, and obtained the one, true Ark?"

"The Return of the Great Adventure!"

"If adventure has a name, it must be Indiana Jones!"

"Harrison Ford - Indiana Jones"

"Karen Allen - Marion Ravenwood"

"Paul Freeman - René Belloq"

"John Rhys-Davies - Sallah"

"Denholm Elliott - Marcus Brody"

"Ronald Lacey - Major Arnold Toht"

"Wolf Kahler - Colonel Dietrich"

"Anthony Higgins - Gobler"

"George Harris - Katanga"

"Lucas: A bounty hunter of antiquities."

"Spielberg: I like that. The doctor with the bullwhip."

"Lucas: He could have known this little girl when she was just a kid. Had an affair with her when she was eleven."

"Lucas: It has to be unique. It's a character. Very Americana. Square. He was born in Indiana."

"[after making out with Perry] Darling, don't ever take a Southern woman for granted."

"[to the motel guests after his argument with April.] Sorry about the disturbance folks, but that is one special wacko chick."

"This girl's got a secret. Huh? You got any secrets. I don't have any secrets. I don't have anything. All I got is a bike, a truck, and post office box in Clearlake, Florida."

"The Delongpre family can claim three governors, two United States senators, three electives of the House of Representatives, a Supreme Court justice, and an ambassabor to Chile. At our table we've had the likes of General Patton, Presidents Woodrow Wilson, Jimmy Carter, Lyndon Johnson, the actress Tallulah Bankhead, and Truman Capote... and that film star Grace Kelly before she married her prince... and Betty Ford after her rehabilitation."

"Patti Jean: I'm so envious of your fuckin' tits. Now I know why men like women."

"Sammantha Delongpre: Get off my sister!"

"Sheriff Earl Hawkins: Well there they be, son. Jonah and Jonah, Jr. They're so old they can't remember who's pappy and who's the son. They're weird and full of superstition. Burying a dead animal on their land can cause the cows to give bloody milk... or bring on a swarm of locusts."

"Uncontrollable Passion. Undeniable Heat."

"The Crossroads of Destiny and Desire."

"Into her perfect life, comes a perfect stranger, until nothing is perfect anymore."

"Let your body move your mind."

"One hot movie."

"What's love got to do with it?"

"Sherilyn Fenn - April Delongpre"

"Richard Tyson - Perry"

"Louise Fletcher - Belle Delongpre"

"Burl Ives - Sheriff Earl Hawkins"

"Kristy McNichol - Patti Jean"

"Martin Hewitt - Chad Douglas Fairchild"

"Juanita Moore - Delilah"

"Don Galloway - Senator Delongpre"

"Millie Perkins - Mrs. Delongpre"

"Milla Jovovich - Sammantha Delongpre"

"By the close of the twentieth century, construction of colonies on the lunar surface had begun and with this colonization came a new era in space travel. As our story opens, Mayflower 1, the first passenger shuttle to the moon, prepares for its maiden voyage--a voyage filled with hope, yet destined for disaster. Meanwhile, in a galaxy far, far away, Princess Amoura lay back in her bed as the handsome young knight entered the room. The princess slipped off her robe, revealing her silky white thighs. The knight embraced her roughly, and began to caress her soft, round…"

"[to Elaine] We're not in the past or the present anymore, Elaine. This... is the FUTURE."

"For the ride of your life... All you need for Christmas are your two front seats!"

"Just when you thought it was safe to go back into the departure lounge!"

"Robert Hays - Ted Striker"

"Julie Hagerty - Elaine Dickinson"

"Lloyd Bridges - Steven McCroskey"

"Chad Everett - Simon Kurtz"

"Peter Graves - Captain Clarence Oveur"

"Chuck Connors - The Sarge"

"William Shatner - Murdock"

"Raymond Burr - Judge D.C. Simonton"

"They're Heeere."

"No one's going in the kitchen 'til I know what's happening."

"[bodies begin shooting out of his house & yard; to Teague] You son of a bitch! You moved the cemetery, but you left the bodies, didn't you?! You son of a bitch, you left the bodies and you only moved the headstones! YOU ONLY MOVED THE HEADSTONES! WHY?! WHY?!"

"[to the Beast as he blocks her from entering the children's bedroom] No, don't touch my babies! NO!"

"Parapsychology isn't something you master in. There are no certificates of graduation. No licenses to practice... I am a professional psychologist who spends most of my time engaged in this ghostly hobby, which makes me I suppose the most irresponsible woman of my age that I know."

"It isn't over. I'm absolutely terrified... It's all the things that we don't understand. I feel like the proto-human coming out of the forest primeval and seeing the moon for the first time and throwing rocks at it."

"This house has many hearts."

"Y'all mind hanging back? You're jammin' the frequencies."

"Now, clear your minds. It knows what scares you. It has from the very beginning. Don't give it any help, it knows too much already."

"Cross over, children. All are welcome. All welcome. Go into the light...there's peace and serenity in the light."

"This house is clean."

"From a dimension beyond the living, a terror to scare you to death."

"They're here."

"It knows what scares you."

"Some things have to be believed to be seen."

"The first real ghost story."

"[from trailer] The house looks just like the one next to it, and the one next to that, and the one next to that. A young couple live in it, with their three children... and something more."

"[from trailer] Now Steven Spielberg crosses a frightening new threshold, into a world within our own."

"[from trailer] Its form is revealed. Its focus is clear. And the games are over."

"[from TV spot] Don't adjust the television set. Your reception's fine. But in their new suburban home, the Freeling family has tuned into something beyond our world."

"[from TV spot] All across the country, by 4am, TV screens go blank. The late night show is over. The Freeling home is different. Although nothing is on, something is there."

"[from TV spot] You'll never look at your television set the same way again."

"Craig T. Nelson - Steve Freeling"

"JoBeth Williams - Diane Freeling"

"Beatrice Straight - Dr. Lesh"

"Dominique Dunne - Dana Freeling"

"Oliver Robins - Robbie Freeling"

"Heather O'Rourke - Carol Anne Freeling"

"Zelda Rubinstein - Tangina Barrons, Clairvoyant"

"Martin Casella - Dr. Marty Casey"

"James Karen - Mr. Teague"

"NO... WIRE... HANGERS! What's wire hangers doing in this closet when I told you NO WIRE HANGERS, EVER?! I work and work 'til I'm half-dead, and I hear people say, "She's getting old." And what do I get? A daughter... who cares as much about the beautiful dresses I give her... as she cares about me! WHAT'S WIRE HANGERS DOING IN THIS CLOSET?! ANSWER ME! I buy you beautiful dresses, and you treat them like they were some dishrag! You do! $300 dress on a wire hanger? We'll see how many you've got, if they're hidden somewhere! We'll see! We'll see! Get out of that bed. All of this is coming out! Out...out...out...out!!! You got any more? We're gonna see how many wire hangers you've got in your closet! [throws items out of Christina's closet onto the floor despite Christina's protests, and soon discovers a second dress on a wire hanger] A wi... wire hanger! WHY?! WHY?!!!! Christina, get out of that bed. Get out of that bed! You live in the most beautiful house in Brentwood... [begins beating Christina with the hanger; Christina tells her to stop hurting her as she shrieks and bawls in pain] ...and you don't care if your clothes get stretched out from wire hangers?! And your room looks like some $2-a-week furnished room in some two-bit back street town in Oklahoma! Get up! Clean up this mess!"

"[addressing the fans camped out in front of her house on Oscar night] I would rather be here with you than anywhere else in the world. You, all of you here and everywhere, gave me this award tonight. And I accept it from you and only you. I love all of you. Now please forgive me, good night."

"[addressing the men in the Pepsi boardroom] DON'T FUCK WITH ME FELLAS! This ain't my first time at the rodeo. You forget the press that I delivered to Pepsi was MY POWER. I can use it any way I want. It's a sword... that cuts both ways."

"TINA! Bring me the axe!"

"You're a lousy substitute for someone who really cares."

"[yelling at her children for making noise when she is trying to take a nap] Christina, Christopher! DAMMIT!!!"

"[about Christina's refusal to eat her meat] WHY must EVERYTHING be a CONTEST?!"

"[lecturing her baby dolls after making Joan mad] You were very, very bad to wake Mommie up like that. VERY naughty. I told you, Mommie has to be beautiful today. This afternoon, she has to see MISTER MAYER. Today is so important. You are thoughtless and selfish. You must learn to think about other people. You are bad, bad spoiled children."

"Adopted children are luckiest because they were chosen."

"[in tears, after the "wire hangers"/bathroom cleaning incident] Jesus Christ!"

"To my darling Christina, with love...Mommie Dearest"

"The meanest mother of them all..."

"Meet the biggest MOTHER of them all!"

"The greatest role of her life...was her life."

"Faye Dunaway is Joan Crawford, a star...a legend...and a mother...The illusion of perfection."

"One thing is certain: You'll never look at a wire hanger the same way again!"

"Faye Dunaway - Joan Crawford"

"Diana Scarwid - Christina Crawford"

"Steve Forrest - Greg Savitt"

"Howard Da silva - Louis B. Mayer"

"Rutanya Alda - Carol Ann"

"Harry Goz - Alfred Steele"

"Michael Edwards - Ted Gelber"

"Jocelyn Brando - Barbara Bennett"

"Priscilla Pointer - Mrs. Chadwick"

"Xander Berkeley - Christopher Crawford"

"Carolyn Coates - Mother Superior of Flintridge Sacred Heart"

"Margaret Fairchild - the orphanage's Mother Superior"

"Belita Moreno - Belinda Rosenberg"

"Alice Nunn - Helga"

"God, I'd give anything for a drink. I'd give my goddamned soul for just a glass of beer."

"It was just one of those things, you know. Purely an accident. My husband had, uh, been drinking, and he came home about three hours late. So he wasn't exactly in the greatest mood that night. And, well, Danny had scattered some of his school papers all over the room, and my husband grabbed his arm and pulled him away from them. It's...it's just the sort of thing you do a hundred times with a child, you know, in the park or in the streets. But on this particular occasion, my husband just used too much strength, and he injured Danny's arm. [nervous laugh] Anyway, something good did come out of it all, because he said "Wendy, I'm never gonna touch another drop. And if I do, you can leave me." And he didn't, and he hasn't had any alcohol in, uh, five months."

"[to Jack; about Danny's bruised neck] You did this to him, didn't you? You son of a bitch! You did this to him! Didn't you?! [Jack shakes his head] How could you?! How could you?!"

"Tony, I'm scared. [as Tony] Remember what Mr. Hallorann said. It's just like pictures in a book. It isn't real."

"[as Tony] Danny's not here, Mrs. Torrance...Danny can't wake up, Mrs. Torrance...Danny's gone away, Mrs. Torrance."

"[As Tony] Redrum!"

"Grady Twins: Hello, Danny. Come and play with us. Come and play with us, Danny. Forever... [3 shots of their bloody corpses] ...and ever...and ever."

"Injured Guest: Great party, isn't it?"

"I don't get it. But there are a lot of things that I don't get. But obviously people absolutely love it, and they don't understand why I don't. The book is hot, and the movie is cold; the book ends in fire, and the movie in ice. In the book, there's an actual arc where you see this guy, Jack Torrance, trying to be good, and little by little he moves over to this place where he's crazy. And as far as I was concerned, when I saw the movie, Jack was crazy from the first scene. I had to keep my mouth shut at the time. It was a screening, and Nicholson was there. But I'm thinking to myself the minute he's on the screen, "Oh, I know this guy. I've seen him in five motorcycle movies, where Jack Nicholson played the same part." And it's so misogynistic. I mean, Wendy Torrance is just presented as this sort of screaming dishrag. But that's just me, that's the way I am."

"Some places are like people: some shine and some don't"

"All work and no play makes Jack a dull boy..."

"A Masterpiece of Modern Horror"

"Stanley Kubrick's epic nightmare of horror"

"The Horror is driving him crazy!"

"The tide of terror that swept America is HERE [UK Poster]"

"He Came As The Caretaker, But This Hotel Had Its Own Guardians – Who'd Been There A Long Time"

"Jack Nicholson - Jack Torrance"

"Shelley Duvall - Wendy Torrance"

"Danny Lloyd - Danny Torrance"

"Scatman Crothers - Dick Hallorann"

"Barry Nelson - Stuart Ullman"

"Philip Stone - Delbert Grady"

"Joe Turkel - Lloyd the Bartender"

"Anne Jackson - Doctor"

"Tony Burton - Larry Durkin"

"Lia Beldam - Young Woman in Bath"

"Billie Gibson - Old Woman in Bath"

"Barry Dennen - Bill Watson"

"Lisa and Louise Burns - Grady Twins"

"How dare you say 'penis' to a dead person."

"[On finding her soul inside Roger Cobb's body] I don't believe this. I can't even die right."

"You are rude, crude, and thoroughly unattractive."

"[To his girlfriend] You bought me a gravestone for my thirty-eighth birthday?!"

"[To his dog] Don't look at me like that. I'm not going in there as a messenger boy; I'm a trained legal advisor. No more being looked down on by people who think they're better than I am because they're rich. From now on, I'm gonna be respected... by people who think they're better than I am because they're rich."

"Is everyone here bananas?"

"[After Edwina has called him a 'peasant'] Look, lady. Just because my grandfather didn't rape the environment and exploit the workers doesn't make me a peasant. And it's not that he didn't want to rape the environment and exploit the workers; I'm sure he did. It's just that as a barber, he didn't have that much opportunity."

"[To Edwina] You're like an energy vampire. You suck the life out of people and take the fun out of being a lawyer."

"[Regarding the empty church at Edwina's memorial] You really know how to pack them in."

"The comedy that proves that one's a crowd."

"They say that behind every great man there's a woman. But in this case it's ridiculous."

"Steve Martin - Roger Cobb"

"Lily Tomlin - Edwina Cutwater"

"Victoria Tennant - Terry Hoskins"

"Madolyn Smith Osborne - Peggy Schuyler"

"Richard Libertini - Prahka Lasa"

"Dana Elcar - Burton Schuyler"

"Jason Bernard - Tyrone Wattell"

"Selma Diamond - Margo"

"Eric Christmas - Fred Hoskins"

"Gailard Sartain - Fulton Norris"

"Neva Patterson - Gretchen"

"[falls off bike after attempting tricks] I meant to do that."

"Go ahead and scream your head off! We're MILES from where anyone can hear you!"

"The story of a rebel and his bike."

"Paul Reubens - Pee-wee Herman"

"Elizabeth Daily - Dottie"

"Mark Holton - Francis Buxton"

"Diane Salinger - Simone"

"Judd Omen - Mickey"

"Jason Hervey - Kevin Morton"

"[voiceover] The life of a playwright is tough. It's not easy as some people seem to think. You work hard writing plays and nobody puts them on. You take up other lines of work to try to make a living. I became an actor, and people don't hire you. So you just spend your days doing the errands of your trade. Today I had to be up by ten in the morning to make some important phone calls. Then I'd gone to the stationery store to buy envelopes. Then to the xerox shop. There were dozens of things to do. By five o'clock, I'd finally made it to the post office and mailed off several copies of my plays, meanwhile checking constantly with my answering service to see if my agent had called with any acting work. In the morning, the mailbox had just been stuffed with bills! What was I supposed to do? How was I supposed to pay them? After all, I was already doing my best! I've lived in this city all my life. I grew up on the Upper East Side, and when I was 10 years old, I was rich! I was an aristocrat. Riding around in taxis, surrounded by comfort, and all I thought about was art and music. Now I'm 36, and all I think about is money!"

"[Upon entering the restaurant] I was beginning to realize that the only way to make this evening bearable, would be to ask Andre a few questions. Asking questions always relaxes me. In fact, I sometimes think that my secret profession is that I'm a private investigator, a detective. I always enjoy finding out about people. Even if they are in absolute agony, I always find it very interesting."

"Yeah, but are you saying it's impossible---? I mean, isn't it a little upsetting to come to the conclusion that there's no way to wake people up anymore, except to involve them in some kind of a strange christening in Poland or some kind of a strange experience on top of Mount Everest? I mean, because, the awful thing is, if you're really saying it's necessary to take everybody to Everest, it's certainly really tough, because everybody can't be taken to Everest. I mean, there must have been periods in history when it would have been possible to save the patient through less drastic measures; there must have been periods when---in order to give people a strong, more meaningful experience---you wouldn't have to take them to Everest!"

"Tell me, why do we require a trip to Mount Everest in order to be able to perceive one moment of reality? I mean... I mean, is Mount Everest more "real" than New York? I mean, isn't New York "real"? I mean, you see, I think if you could become fully aware of what existed in the cigar store next door to this restaurant, I think it would just blow your brains out! I mean... I mean, isn't there just as much "reality" to be perceived in the cigar store as there is on Mount Everest?"

"I just don't think I feel the need for anything more than all this, whereas, you know, you seem to be saying that it's inconceivable that anybody could be having a meaningful life today, and, you know, everyone is totally destroyed, and we all need to live in these outposts; but you know, I can't believe---even for you. Don't you find it pleasant just to get up in the morning?"

"I'm adequate to do any sort of a task, but I'm not adequate just to be a human being."

"[voiceover] All the other customers seemed to have left hours ago. We got the bill, and André paid for our dinner! I treated myself to a taxi. I rode home through the city streets. There wasn't a street, there wasn't a building, that wasn't connected to some memory in my mind. There, I was buying a suit with my father. There, I was having an ice cream soda after school. When I finally came in, Debbie was home from work, and I told her everything about my dinner with Andre."

"Remember that moment when Marlon Brando sent the Indian woman to accept the Oscar, and everything went haywire? Things just very rarely go haywire now. If you're just operating by habit, then you're not really living."

"I wouldn't put on an electric blanket for any reason. First, I'd be worried if I get electrocuted. No, I don't trust technology. But I mean, the main thing, Wally, is that I think that kind of comfort just separates you from reality in a very direct way."

"Do you know, in Sanskrit the root of the verb "to be" is the same as "to grow" or "to make grow"."

"Things don't affect people the way they used to. I mean it may very well be that 10 years from now people will pay $10,000 in cash to be castrated just in order to be affected by something."

"Okay, yes. We're bored. We're all bored now. But has it ever occurred to you, Wally, that the process that creates this boredom that we see in the world now, may very well be a self-perpetuating, unconscious form of brainwashing created by a world totalitarian government based on money? And that all of this is much more dangerous than one thinks? And its not just a question of individual survival, Wally, but that somebody who's bored is asleep, and somebody who's asleep will not say no?"

"He said 'I think that New York is the new model for the new concentration camp, where the camp has been built by the inmates themselves and the inmates are the guards and they have this pride in this thing they've built? They've built their own prison! And so, they exist in a state of schizophrenia where they are both guards and prisoners and, as a result, they no longer have -- having been lobotomized -- the capacity to leave the prison they've made or to even see it as a prison.' And then he went into his pocket and he took out a seed for a tree and he said 'This is a pine tree'. He put it in my hand and he said 'Escape before it's too late'."

"One of the gifts of "My Dinner with Andre" is that we share so many of the experiences. Although most of the movie literally consists of two men talking, here's a strange thing: We do not spend the movie just passively listening to them talk. At first, director Louis Malle's sedate series of images (close-ups, two-shots, reaction shots) calls attention to itself, but as Gregory continues to talk, the very simplicity of the visual style renders it invisible. And like the listeners at the feet of a master storyteller, we find ourselves visualizing what Gregory describes, until this film is as filled with visual images as a radio play — more filled, perhaps, than a conventional feature film. ... The movie is not ponderous, annoyingly profound, or abstract. It is about living, and Gregory seems to have lived fully in his five years of dropping out. Shawn is the character who seems more like us. He listens, he nods eagerly, he is willing to learn, but — something holds him back. Pragmatic questions keep asking themselves. He can't buy Gregory's vision, not all the way. He'd like to, but this is a real world we have to live in, after all, and if we all danced with the druids in the forests of Poland, what would happen to the market for fortune cookies?"

"Someone asked me the other day if I could name a movie that was entirely devoid of cliches. I thought for a moment, and then answered, My Dinner With Andre. Now I have seen the movie again; a restored print is going into release around the country, and I am impressed once more by how wonderfully odd this movie is, how there is nothing else like it. It should be unwatchable, and yet those who love it return time and again, enchanted."

"Andre Gregory - Andre Gregory"

"Wallace Shawn - Wally Shawn"

"Not weird weird, but like exciting weird."

"[singing] I want a whole lot more than the boy next door. I want hell on wheels."

"[to Stephanie after seeing her with the mysterious biker] I catch you with that punk one more time, I'll rearrange his face! He's a dead man, you know what I'm saying? D-E-D!"

"[to Stephanie] That jacket you're wearing is T-Bird property. You want to leave the party, leave the jacket at the door."

"[after Johnny gives her an order] Yeah? Well, you wanna hear my 'final word' Mr Push-everyone-around Nogarelli? You may be able to cute some of the chicks in this school, but this chick has been cute by one Johnny Nogarelli for the last time. I may not be the classiest chick in this school, but I'm the best you're ever gonna get. So take it or leave it!"

"Louis: [holding a rabbit] See what happens when a boy and a girl don't know how to play it safe!"

"Michael: [practicing bowling invitation] Howdy fellas, let's bowl some balls."

"Sharon: We're going to die and I'm wearing my mother's underwear!"

"Johnny: My mom wants you to come over for some pasghetti, at your convience"

"Grease is still the word!"

"The music and feeling go on forever."

"[[w:Maxwell Caulfield"

"Michelle Pfeiffer"

"[[w:Adrian Zmed"

"[[w:Lorna Luft"

"[[w:Peter Frechette"

"[[w:Maureen Teefy"

"[[w:Christopher McDonald"

"[[w:Pamela Adlon"

"[[w:Didi Conn"

"Eve Arden - Principal McGee"

"Sid Caesar - Coach Calhoun"

"Dody Goodman - Blanche Hodel"

"Tab Hunter - Mr. Stuart"

"[[w:Connie Stevens- Miss Mason"

"Eddie Deezen - Eugene Felsnic"

"[[w:Dennis Stewart Balmudo"

"Jean and Liz Sagal - Noreen and Doreen"

"[first lines] I saw this one."

"His real name is Charles Lee Ray, and he's been sent down from heaven by daddy to play with me."

"Look, you stay here; I have to go tinkle."

"This is the end, friend."

"I'M GONNA GET YOU FOR IT! I'M GONNA GET YOU, AND I'M GONNA GET EDDIE!!! NO MATTER WHAT!"

"I gotta find somebody, I gotta find somebody!"

"[repeated line] Hi, I'm Chucky. Wanna play?"

"[while attacking Mike] Goodnight, asshole!"

"Sure, how'd ya want it? Broken leg?"

"[Laughs] I don't believe it! I just don't believe it! The first person I let in on my little secret was a 6-year-old kid! I'm gonna be 6 years old again!"

"Kill them! Strangle them! Don't let go! Kill them! Kill them! Kill them all!"

"Won't do you any good, Mikey, you can't hurt me!"

"No one believes the truth...or lives to tell it."

"You'll wish it was only make-believe."

"Andy Barclay has a new playmate who's in no mood to play."

"There's nothing nice about murder, and there's nothing innocent about child's play."

"This doll is killer."

"Chucky is one mean S.O.B."

"Something's moved in with the Barclay family, and so has terror."

"When most people have nightmares, they dream of Freddy. When Freddy has nightmares, he dreams of Chucky."

"Alex Vincent — Andy Barclay"

"Catherine Hicks — Karen Barclay"

"Chris Sarandon — Mike Norris"

"Brad Dourif — Charles Lee Ray / Voice of Chucky"

"Dinah Manoff — Maggie Peterson"

"Tommy Swerdlow — Jack Santos"

"Jack Colvin — Dr. Ardmore"

"Raymond Oliver — John Bishop (a.k.a. Dr. Death)"

"Neil Giuntoli — Eddie Caputo"

"Chucky Suit Performance by Edward Gale"

"Edan Gross — Voices of Friendly Chucky, Oscar Doll and Kid in Animated Commercial #1"

"Michael Patrick Carter — Voice of Kid in Animated Commercial #2"

"John Franklin — Voice of Walkabout Chucky"

"Some people never go crazy. What truly horrible lives they must lead."

"[to Eddie] Your mom's cunt smells like carpet cleaner."

"I remember ordering a draught, barkeep. What, are you out of brew, or has that lobotomy finally taken hold?"

"So you hired a dick to find an asshole?"

"It's hatred. It's the only thing that lasts."

"[Voice over] And as my hands drop the last desperate pen, in some cheap room, they will find me there and never know my name, my meaning, nor the treasure of my escape."

"[to his own bloody face as reflected in the bathroom mirror] Nothing but the dripping sink. Empty bottle. Euphoria. Youth fenced in, stabbed and shaved. Taut words propped up to die"

"I'd hate to be you if I were me."

"Mickey Rourke — Henry Chinaski"

"Faye Dunaway — Wanda Wilcox"

"Alice Krige — Tully Sorenson"

"Jack Nance — Detective"

"J. C. Quinn — Jim"

"Frank Stallone — Eddie"

"Sandy Martin — Janice"

"Roberta Bassin — Lilly"

"Gloria LeRoy — Grandma Moses"

"Joe Unger — Ben"

"Harry Cohn — Rick"

"Pruitt Taylor Vince — Joe"

"Fritz Feld — Bum"

"Charles Bukowski — Oldtimer"

"OK, Ralph, you know, I don't have to help you, but let me tell you something. If you flunk out and die in Vietnam, that's the end of our friendship, fuck you, you know."

"[To a hitchhiker] Hop in! We're not homosexuals or anything."

"We have naked people giving us free food!"

"You can disagree. You can say that it's not right. That's what freedom is."

"Robert Downey Jr. - Ralph Carr"

"Kiefer Sutherland - Scott"

"Bruce Dern - Cliff"

"Mariette Hartley - Jessie"

"Winona Ryder - Beth"

"Joanna Cassidy - Ev"

"Christopher Wynne - Alden"

"Keller Kuhn - Marsha"

"Steve Foster - Marshall"

"Mert Hatfield - Coach Heart"

"Welton Tootle - Junior Roberts"

"Don Devendorf - Reverend Hardy"

"Dr. Robert Louis Stevenson - Dean Bonner"

"Jason Summers - Processor"

"Scott N. Stevens - Hitchhiker"

"[while transforming] I didn't mean to call you a meatloaf, Jack!"

"If the villagers believe that Jack Goodman was killed by a werewolf, why shouldn't David? And then it follows, that if he survived an attack by a werewolf, wouldn't he himself become a werewolf at the next full moon? Oh, I don't mean running about on all fours and howling at the moon; but, in such a deranged state he might harm himself. Perhaps other people."

"Little boy: A naked American man stole my balloons."

"From the director of Animal House... Comes a different kind of animal."

"Something different."

"A masterpiece of terror."

"David Naughton — David Kessler"

"Griffin Dunne — Jack Goodman"

"Jenny Agutter — Nurse Alex Price"

"John Woodvine - Dr. J. S. Hirsch"

"Michael Carter - Gerard Bringsley"

"Don McKillop - Inspector Villiers"

"Frank Oz - Mr. Collins"

"Paul Kember - Sergeant McManus"

"Sydney Bromley - Alf"

"Frank Singuineau - Ted"

"Will Leighton - Joseph"

"Geoffrey Burridge - Harry Berman"

"Brenda Cavendish - Judith Browns"

"Madam secretary. Honorable delegates. Ladies and gentlemen. For many years now, I've lived among you as a visitor. I've seen the beauty of your many cultures. I've felt great joy in your magnificent accomplishments. And I have also seen the folly of your wars. As of today, I'm not a visitor anymore, because the Earth is my home too. We can't live in fear, and I can't stand by and watch as we stumble into madness of possible nuclear destruction. And so I've come to a decision. I'm going to do what our governments have been unwilling or unable to do. Effective immediately, I'm going to rid our planet of all nuclear weapons."

"Once more, we have survived the threat of war and found a fragile peace. I thought I could give you all the gift of the freedom from war, but I was wrong. It's not mine to give. We're still a young planet. There are galaxies out there. Other civilizations for us to meet and to learn from. What a brilliant future we could have. And there will be peace – there will be peace when the people of this world want it so badly that their governments will have no choice but to give it to them. I just wish you could all see the Earth the way that I see it. Because when you really look at it, it's just one world."

"[to Clark Kent, about Superman] Well, if he can't manage and if he really is in trouble, then there's, uh, there's a few things I'd like to tell him. I'd tell him that I will always cherish the time we spent together. And I never expected anything in return and no matter how few minutes I saw him for, it always made me happy. And I would tell him, that I love him. And that I'll always love him. And that whatever happens to the world, I, I know that he's doing his best to make sure it'll be all right for the rest of us."

"Lenny, I've always considered you the Dutch Elm disease in my family tree."

"Lenny, let's try and keep your IQ a family secret."

"[to Lenny] He gets his energy from the sun. Without it, he's like you at night - useless."

"[to Superman] This is my nephew Lenny. He worships me."

"[to Superman] You know, you're a work-o-holic. Don't you ever stop, smell the roses, huh?"

"[to Superman] A toast. To a nice guy who's about to finish last."

"[repeated line] Destroy Superman."

"Prison Inmates: (Luthor has an annoying habit of whistling Mozart on the rock pile, to prove his intellectual superiority) Hey, everybody, Mozart's back!! (Chain gang inmates line up and whistle Mozart in unison)"

"FLYING THROUGH NEW DANGER THIS SUMMER"

"Nuclear Power. In the best hands, it is dangerous. In the hands of Lex Luthor, it is pure evil. This is Superman's greatest battle. And it is for all of us."

"The movie does not do justice to the script at all. The script was actually pretty clever. The script was basically that a kid asks Superman to get rid of all the nuclear weapons in the world, saying, 'You're Superman! Why can't you do it?' That was a much bigger part of it than a lot of the really dumb Nuclear Man stuff that ended up being used. It ended up with Superman basically deciding that's something Earthlings are going to have to do for themselves, which I thought was an important message at the time. When I finally did see the movie, every frame of it hurt me physically. [Laughs.] I'd had such high hopes for it that… To feel like you're a part of the downfall of something that you had hoped to resurrect, that's a tough thing to take."

"Gene showed up to set and I told him what to do, where to look and all that. He had to do this whole speech about the "primeval swamp" or something like that. So, he asked me where the primeval swamp was, and I told him that we'd have to shoot it later, but for now, he would just look offscreen. So he erupted, "You call yourself a director? How am I supposed to play this scene without seeing the primeval swamp?" And I just said, "Well, Gene, you're an actor. Isn't that what actors do? This is not Shakespeare. If anyone can fake it well, you can". And it wasn't quite the same after that, to be honest."

"This film's social conscience, which fortunately is presented with a minimum of self-righteousness, also leads Superman to the United Nations, where he makes a speech and promises to rid the world of nuclear weapons. He is then seen gathering missiles into a gigantic mesh shopping bag, spinning it around and flinging it into the sun, where it explodes. The Superman series gets more and more whimsically outrageous as it goes along. The cast wears costumes that are swanky but very strange, and the dialogue is also unexpectedly funny at times, as when Luthor pronounces Superman a workaholic and advises him to stop and smell the roses. There's also a new character, a solar-powered blond titan (Mark Pillow) created by Luthor as a rival for Superman, to keep the action moving. Threadbare as it's beginning to look, the Superman series hasn't lost its raison d'etre. There's life in the old boy yet."

"We were also hampered by budget constraints and cutbacks in all departments. Cannon Films had nearly thirty projects in the works at the time, and Superman IV received no special consideration. For example, Konner and Rosenthal wrote a scene in which Superman lands on 42nd Street and walks down the double yellow lines to the United Nations, where he gives a speech. If that had been a scene in Superman I, we would actually have shot it on 42nd Street. Richard Donner would have choreographed hundreds of pedestrians and vehicles and cut to people gawking out of office windows at the sight of Superman walking down the street like the Pied Piper. Instead, we had to shoot at an industrial park in England in the rain with about a hundred extras, not a car in sight, and a dozen pigeons thrown in for atmosphere. Even if the story had been brilliant, I don't think that we could ever have lived up to the audience's expectations with this approach."

"The story, which Christopher Reeve dreamed up in an attempt to make "Superman" more socially relevant, finds the man of steel persuading the leaders of the world to surrender their nuclear missiles and detonate them in deep space. But there is something our hero does not realise: Lex Luthor (Gene Hackman) and his gormless nephew Lenny (Jon Cryer) have planted a fiendish device inside the weapons that, when detonated, creates an indestructible android programmed to wreak havoc on Earth. The ensuing battle between Reeve and Nuclear Man (Mark Pillow) is desperate stuff, involving the destruction of the Great Wall of China, and Superman coming to the rescue of a runaway subway train (unconvincingly shot on the London Underground). The rest is scarcely better and makes no sense, probably because over half an hour of material ended up on the cutting room floor. A sorry finale for a much-loved series."

"Christopher Reeve - Superman / Clark Kent"

"Margot Kidder - Lois Lane"

"Gene Hackman - Lex Luthor / Nuclear Man (voice)"

"Jackie Cooper - Perry White"

"Jon Cryer - Lenny Luthor"

"Mark Pillow - Nuclear Man"

"Mariel Hemingway - Lacy Warfield"

"The world is full of complainers. But the fact is, nothing comes with a guarantee. I don't care if you're the Pope of Rome, President of the United States, or even Man of the Year—something can always go wrong. And go ahead, complain, tell your problems to your neighbor, ask for help—watch him fly. Now in Russia, they got it mapped out so that everyone pulls for everyone else—that's the theory, anyway. But what I know about is Texas...And down here... you're on your own."

"[to Marty] Stick your finger up the wrong person's ass?"

"You know a friend of mine broke his hand a while back. Put in a cast. Very next day he takes a fall, protects his bad hand, falls on his good one, breaks that too. So now he's got two busted flippers and I say to him "Creighton, I hope your wife loves you. 'Cause for the next five weeks you cannot wipe your own goddamn ass." That's the test, ain't it? Test of true love."

"[to himself, about Marty] Sweet Jesus, you are disgusting."

"[to Marty] Who looks stupid now?"

"Lover-boy oughta lock his door. Lotta nuts out there."

"Let's do it outside, in nature."

"[to Ray] Look. Personally I don't give a shit. I know Marty's a hard-on but you gotta do something. I don't know; give the money back, say you're sorry, or get the fuck out of here, or something...It's very humiliating, preaching about this shit...I'm not laughing at this, Ray Bob, so you know it's no fucking joke."

"Even the fucking dog's gone crazy."

"[to Abby] Something pretty fucking weird is going on. Put your coat on and I'll drop you at home. But don't talk to either of 'em until I do. And don't worry. Believe me. These things always have a logical explanation. Usually."

"Teenager: [to Marty] Hey mister, how'd you break your pussyfinger?"

"Strip joint DJ: And remember, gentlemen, we're always here, two to two, A.M. to P.M., three hundred and sixty-four days and Christmas, God willing and the creek don't rise."

"Ray: [to Abby] You left your weapon behind."

"Breaking up is hard."

"Dead in the heart of Texas."

"John Getz - Ray"

"Frances McDormand - Abby"

"Dan Hedaya - Julian Marty"

"M. Emmet Walsh - Loren Visser (private detective)"

"Samm-Art Williams - Meurice"

"Deborah Neumann - Debra"

"Oh, you wanna take an attack posture wit' me? Yeah, you got a weapon. Clark got a weapon, Clark got a knife! We all got weapons! Anybody can blow anybody away, any second. Which is the way it ought to be. Always."

"A VC sympathizer can get killed real easy, don't you know that? Somebody stumbles, they don't mean to shoot you, they're sorry…friendly fuckin' casualty. I mean, a body bag's a body bag, right?"

"On the day I was born, my momma grunted. I popped out. Took one look around. "Shit!" I says. It's Two Creeks, Texas." So about eight years ago I'm still in Two Creeks. My wife's about to give birth to her first child. I took her to the hospital, natural thing to do. Well, she was refused admittance to this hospital on the basis of her race- which is, as you might guess, Negro. Next thing I know the baby ain't about to wait. And so my son is born on the goddamn floor of this hospital's reception room… Eriksson, I flipped the fuck out. I started turnin' over chairs, kickin' lamps- wasn't long before I was in jail. Now, wasn't I on the side of righteousness? So what was I doing in jail? What I was doing, let me advise you, was fixin' to shoot some mothafuckas working in that hospital, that's what I was doing."

"This goddamn thing's turnin' us on our heads, man! I mean, Just because any of us at any second might be blown away, everybody's acting like we can do anything, man! And it don't matter what we do! But I'm thinkin' maybe it's the other way around. You know, maybe the main thing is just the opposite. Because we might be dead in the next split second, we gotta be extra careful what we do. Jesus, man, maybe it matters more than we even know."

"Even in war… murder is murder."

"It's not the enemy you fight to kill, but the innocent you fail to save."

"Michael J. Fox - PFC Eriksson"

"Sean Penn - Sgt. Tony Meserve"

"Don Harvey - Cpl. Thomas E. Clark"

"John C. Reilly - PFC. Herbert Hatcher"

"Thuy Thu Le - Tran Thi Oanh/Girl on Bus"

"John Leguizamo - PFC. Antonio Diaz"

"Jack Gwaltney - PFC. Rowan"

"Erik King - Cpl. Brown"

"Ving Rhames - Lt. Reilly"

"Dan Martin - Hawthorne"

"Dale Dye - Capt. Hill"

"[to Dan, trying to convince him to assist in his research] We can achieve every doctor's dream! You'll be famous, and live lifetimes."

"Do you agree he's dead now? [picks up the dead cat and drops it with a clunk] Do you agree that he's dead now?"

"[regarding the dead cat he is reanimating] Don't expect it to tango; it has a broken back."

"I must say, Dr. Hill, I'm very disappointed in you. You steal the secret of life and death and here you are, trysting with a bubble-headed co-ed. You're not even a second-rate scientist."

"You'll never get credit for my discovery. Who's going to believe a talking head? Get a job in a sideshow."

"I am not through here! I told you I have a theory: overdose!! [wields two full reagent hypodermics]"

""How can you teach such drivel? These people are here to learn and you're closing their minds before they even have a chance!" [Herbert west to Dr. Hill after pencil snapping lesson]"

"[about the death & reanimation of Dean Halsey] This is a dream. Fiction."

"[about Dean Halsey] He's not insane. He's dead."

"[whispered to Megan, in the film's final line] I love you."