Documentary films

"Any military commander who is honest with himself, or with those he's speaking to, will admit that he has made mistakes in the application of military power. He's killed people unnecessarily — his own troops or other troops — through mistakes, through errors of judgment. A hundred, or thousands, or tens of thousands, maybe even a hundred thousand. But, he hasn't destroyed nations. And the conventional wisdom is don't make the same mistake twice, learn from your mistakes. And we all do. Maybe we make the same mistake three times, but hopefully not four or five. There will be no learning period with nuclear weapons. You make one mistake and you're going to destroy nations."

"At my age, 85, I'm at age where I can look back and derive some conclusions about my actions. My rule has been try to learn, try to understand what happened. Develop the lessons and pass them on."

"Kennedy was trying to keep us out of war. I was trying to help him keep us out of war. And General Curtis LeMay, whom I served under as a matter of fact in World War II, was saying "Let's go in, let's totally destroy Cuba.""

"In Thompson's mind was this thought: Khrushchev's gotten himself in a hell of a fix. He would then think to himself, "My God, if I can get out of this with a deal that I can say to the Russian people: 'Kennedy was going to destroy Castro and I prevented it.'" Thompson, knowing Khrushchev as he did, thought Khrushchev will accept that. And Thompson was right. That's what I call empathy. We must try to put ourselves inside their skin and look at us through their eyes, just to understand the thoughts that lie behind their decisions and their actions."

"In the first message, Khrushchev said this: "We and you ought not to pull on the ends of a rope which you have tied the knots of war. Because the more the two of us pull, the tighter the knot will be tied. And then it will be necessary to cut that knot, and what that would mean is not for me to explain to you. I have participated in two wars and know that war ends when it has rolled through cities and villages, everywhere sowing death and destruction. For such is the logic of war. If people do not display wisdom, they will clash like blind moles and then mutual annihilation will commence.""

"I want to say, and this is very important: at the end we lucked out. It was luck that prevented nuclear war. We came that close to nuclear war at the end. Rational individuals: Kennedy was rational; Khrushchev was rational; Castro was rational. Rational individuals came that close to total destruction of their societies. And that danger exists today."

"The major lesson of the Cuban Missile Crisis is this: The indefinite combination of human fallibility and nuclear weapons will destroy nations. Is it right and proper that today there are 7500 strategic offensive nuclear warheads, of which 2500 are at 15 minute alert to be launched by the decision of one human being?"

"In my seven years as Secretary [of Defense], we came within a hair’s breadth of war with the Soviet Union on three different occasions.McNamara identified those three occasions in CNN's 1998-1999 Cold War documentary: 'One was the Soviet attempt to take West Berlin in August of '61. Another was the Soviet introduction of missiles into Cuba, which nearly led to a nuclear war in October '62. And a third was the Soviet support of Egypt's attempt to eradicate Israel from the face of the earth in June of '67, which led ultimately to the first use of the Hot Line. And one of the messages sent by Kosygin to Johnson, in June of '67, was: "If you want war, you'll get war."'<!--"

"Why was it necessary to drop the nuclear bomb if LeMay was burning up Japan? And he went on from Tokyo to firebomb other cities. 58% of Yokohama. Yokohama is roughly the size of Cleveland. 58% of Cleveland destroyed. Tokyo is roughly the size of New York. 51% percent of New York destroyed. 99% of the equivalent of Chattanooga, which was Toyama. 40% of the equivalent of Los Angeles, which was Nagoya. This was all done before the dropping of the nuclear bomb, which by the way was dropped by LeMay's command. Proportionality should be a guideline in war. Killing 50% to 90% of the people of 67 Japanese cities and then bombing them with two nuclear bombs is not proportional, in the minds of some people, to the objectives we were trying to achieve."

"LeMay said, "If we'd lost the war, we'd all have been prosecuted as war criminals." And I think he's right. He, and I'd say I, were behaving as war criminals. LeMay recognized that what he was doing would be thought immoral if his side had lost. But what makes it immoral if you lose and not immoral if you win?"

"I can still see it. There's a love seat, two armchairs with a lamp table in between. Jack Kennedy is sitting in one armchair and Bobby Kennedy's sitting in the other. "Mr. President, it's absurd, I'm not qualified." "Look, Bob," he said, "I don't think there's any school for Presidents either.""

"I called the superintendent of Arlington Cemetery. And he and I walked over those grounds. They're hauntingly beautiful grounds, white crosses all in a row. And finally I thought I'd found the exact spot, the most beautiful spot in the cemetery. I called Jackie at the White House and asked her to come out there, and she immediately accepted. And that's where the President is buried today. A park service ranger came up to me and said that he had escorted President Kennedy on a tour of those grounds a few weeks before. And Kennedy said, "That was the most beautiful spot in Washington." That's where he's buried."

"If you went to the C.I.A. and said "How is the situation today in South Vietnam?" I think they would say it's worse. You see it in the desertion rate, you see it in the morale. You see it in the difficulty to recruit people. You see it in the gradual loss of population control. Many of us in private would say that things are not good, they've gotten worse. Now while we say this in private and not public, there are facts available that find their way in the press. If we're going to stay in there, if we're going to go up the escalating chain, we're going to have to educate the people, Mr. President. We haven't done so yet. I'm not sure now is exactly the right time."

"Let me go back one moment. In the Cuban Missile Crisis, at the end, I think we did put ourselves in the skin of the Soviets. In the case of Vietnam, we didn't know them well enough to empathize. And there was total misunderstanding as a result. They believed that we had simply replaced the French as a colonial power, and we were seeking to subject South and North Vietnam to our colonial interests, which was absolutely absurd. And we, we saw Vietnam as an element of the Cold War. Not what they saw it as: a civil war."

"What makes us omniscient? Have we a record of omniscience? We are the strongest nation in the world today. I do not believe that we should ever apply that economic, political, and military power unilaterally. If we had followed that rule in Vietnam, we wouldn't have been there. None of our allies supported us. Not Japan, not Germany, not Britain or France. If we can't persuade nations with comparable values of the merit of our cause, we'd better reexamine our reasoning."

"Were those who issued the approval to use Agent Orange criminals? Were they committing a crime against humanity? Let's look at the law. Now what kind of law do we have that says these chemicals are acceptable for use in war and these chemicals are not. We don't have clear definitions of that kind. I never in the world would have authorized an illegal action. I'm not really sure I authorized Agent Orange. I don't remember it, but it certainly occurred, the use of it occurred while I was Secretary."

"I formed the hypothesis that each of us could have achieved our objectives without the terrible loss of life. And I wanted to test that by going to Vietnam."

""Mr. McNamara, You must never have read a history book. If you'd had, you'd know we weren't pawns of the Chinese or the Russians. McNamara, didn't you know that? Don't you understand that we have been fighting the Chinese for 1000 years? We were fighting for our independence. And we would fight to the last man. And we were determined to do so. And no amount of bombing, no amount of U.S. pressure would ever have stopped us." - Xuân Thuỷ, Foreign Minister of North Vietnam (1963 to 1965), during a 1995 meeting former US Secretary of Defense, serving from 1961 to 1968, Robert S. McNamara."

"Norman Morrison was a Quaker. He was opposed to war, the violence of war, the killing. He came to the Pentagon, doused himself with gasoline. Burned himself to death below my office. He held a child in his arms, his daughter. Passersby shouted, "Save the child!" He threw the child out of his arms, and the child lived and is alive today. His wife issued a very moving statement: 'Human beings must stop killing other human beings.' And that's a belief that I shared. I shared it then and I believe it even more strongly today. How much evil must we do in order to do good? We have certain ideals, certain responsibilities. Recognize that at times you will have to engage in evil, but minimize it."

"We all make mistakes. We know we make mistakes. I don't know any military commander, who is honest, who would say he has not made a mistake. There's a wonderful phrase: 'the fog of war.' What "the fog of war" means is: war is so complex it's beyond the ability of the human mind to comprehend all the variables. Our judgment, our understanding, are not adequate. And we kill people unnecessarily."

"Never answer the question that is asked of you. Answer the question that you wish had been asked of you."

"I'm not so naive or simplistic to believe we can eliminate war. We're not going to change human nature anytime soon. It isn't that we aren't rational. We are rational. But reason has limits. There's a quote from T.S. Eliot that I just love: We shall not cease from exploring And at the end of our exploration We will return to where we started And know the place for the first time.Now that's in a sense where I'm beginning to be."

"On his way out of the studio, Errol Morris remarked that last August in Waco, Texas (where he was shooting a Nike commercial), he looked up in the airport and saw Karl Rove standing in front of him. Morris introduced himself as the film-maker of "The Fog of War." With something more than cordiality, Rove responded: "That's one of my favorite movies. I recommend it to everybody I know.""

"My wife, Julia Sheehan, sees McNamara as 'the flying Dutchman,' destined to travel the earth looking for redemption, absolution, whatever. Many political writers have been less kind. They see his trip to Vietnam, to Hanoi, as an attempt to justify a war that can never be justified. And they see his trips to Havana and to Moscow as facile attempts to rewrite history. I see it differently. There is something, for me, deeply moving and interesting about McNamara's attempt to figure out what happened, who he is and what he's done. Unusual among public figures, he has embarked on an historical investigation of himself. But doesn’t he know what he’s done? Call it the Cartesian error: the belief that we have privileged access to our own minds, that we somehow know what we're thinking or what we were thinking. Can’t I just look 'upstairs' and summarize what I find up there? I don't think so."

"I've always wondered where explanations end and excuses begin. And is there a difference between excuses and explanations ... is an excuse a bad or self-serving explanation? I don't know. Maybe Newton's Law is an excuse for why bodies just stay at rest or in motion unless acted on by some external force. I look at the McNamara story as the-fog-of-war-ate-my-homework excuse. After all, if war is so complex, then no one is responsible."

"A friend of mine has said, 'You can never trust someone who doesn't talk a lot, because how else could you know what they're thinking?' This could be true. There's a belief that if you sit people down and you let them talk that they will reveal who they are. And then this also contrary to the whole idea about how you're supposed to investigate stuff, how you're supposed to interview people. After all, you're supposed to ask difficult questions. You're supposed to - particularly if you want to find something out, you're supposed to back the subject against the wall, press them hard and get them to 'fess up in some way or another. This is part of many of the criticisms that I heard about my film of Robert S. McNamara. That he should have been subjected to much tougher questions."

"I had a lot of trouble with McNamara in the course of making this movie. Horrible disagreements about stuff I had put in the movie that he did not want in there. One of the major disagreements concerned the lessons in the film. There are 11 lessons. And he repeatedly said, 'You know, Errol, those are not my lessons. They are your lessons.' And I said, 'Yeah, yeah, they are. But they're extracted, of course, from things that you've said,' things that McNamara said, which is indeed the case. Perhaps not the lessons that McNamara would have chosen, but then, he was not directing the movie. I think that the lessons are all ironic. It's very odd to me that people talk about the film and they talk about the lessons without pointing out that there might be intended ironies with each and every one of them. But yes, they are for me ironic, particularly the last one in the movie: You can't change human nature. It tells you that all of the other lessons are valueless, that the human situation is indeed hopeless.""

"I saw the movie as a collaboration between the two of us. I never saw the movie, as I was making it, and I don't see the movie now, as my attempt to quote-unquote "get," go after, Robert S. McNamara. I saw it as an attempt to try to understand McNamara - to answer questions about McNamara."

"This thing is heavy. I'd like to thank the Academy for finally recognizing my films. Thank you so very, very, very much! I thought it would never happen. I'd like to thank my very good friends at Sony Pictures Classics, Michael Barker, Tom Bernard. No one would get to see this movie without them. My two producers - Michael Williams, Julie Ahlberg. Couldn't have made the movie without them either. My long suffering editors - Charlie Silver, Brad Fuller. And Karen Schmeer and Doug Abel, thank you also very much. And believe it or not, Robert McNamara, with whom, if he hadn't done it there would have been no film. Forty years ago this country went down a rabbit hole in Vietnam and millions died. I fear we're going down a rabbit hole once again. And if people can stop and think and reflect on some of the ideas and issues in this movie, perhaps I've done some damn good here. Thank you very, very much."

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

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

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

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

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

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

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

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

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

"He, of course, almost overacted his innocence: he protested he hadn't done anything, couldn't imagine why we were bringing him in. He didn't fight or he didn't resist. He just protested his innocence."

"And we sort of tried to inquire: didn't he think it was a little strange that there was a robbery committed with that same pistol, and here it was David Harris' pistol, David Harris' automobile that picked up Randall Adams, didn't he think it was a little odd that all the utensils for committing this so-called murder were committed… were… were furnished by David Harris who got off scott free and was being a witness for the prosecution? And all he said was "Well, ho-hum, we don't feel that was in Vidor, Texas. Our people just are not that… we're not that keen on ruining a young man's life."

"Yeah, when I was a kid I used to want to be a detective all the time because I used to watch all the detective shows on TV. When I was a kid they used to show these movies with Boston Blacki and he always had a woman with him. And I wanted to be a wife of a detective or be a detective, so I always watching detective stories. I'm always looking because I never know what might come up. Or how I could help. I like to help in situations like that. I really do. It's always happening to me, everywhere I go, you know, lot of times there's killing or anything, even around my house. Wherever. And I'm always looking or getting involved, you know, find out who did it, or what's going on. I listen to people. And I'm always trying to decide who's lying or who killed who before the police do. See if I can beat them. Yeah."

"I'm a salesman. And you develop something like total recall. I don't forget places, things, or streets, because it's a habit. Something I just picked up. I just stare intensely at people and try to figure them out. Being nosey, I just stare. I was leaving the Plush Pub one night, driving a 1977 Cadillac, heading west on Hampton. I noticed a officer had two individuals pulled over to the curb in a blue … some type of vehicle. It was… it was a blue…it was a blue… I think… it was a blue Ford. It was a blue something."

"I always tried very hard — every judge I know of does — to not show emotion on the bench. The reason: if you do show emotion, the jury might take it that you're favoring on side or another. So you try to remain passive, emotionless, objective. I do have to admit that in the Adam's case — and I've never really said this — Doug Mulder's final argument was one I'd never heard before: about the "thin blue line" of police that separate the public from anarchy. I have to conceded that my eyes kind of welled up when I heard that. It did get to me emotionally, but I don't think I showed it."

"You have a D.A., he doesn't talk about when they convict you or how they convict you, he's talking about how he's going to kill you. He don't give a damn if you're innocent. He don't give a damn if you're guilty. He's talking about killing you. You get numb. You get…It's like a bad dream. You want to wake up but you can't do it."

"He went over my testimony with me, pretty extensively, instructed me how I should testify, et cetera, how I should answer certain questions, things of this nature. That's what you call "coaching the witness", you know. Let's get this evidence in the spectrum where it's going to be most effective. At the same time, I didn't really ponder on it, but he was deceiving the jury, see. He wanted to deceive Justice. That's why I think that statute with the scales, Justice… what is she called? I don't know that she called. She's got that blindfold on. We don't see what goes on behind the closed doors."

"My mom had a good phrase. She said the first night she pulled into Dallas, it was raining, that it was lightning. And they're coming into Dallas and she said if there was ever a hell on earth, it's Dallas County. She's right. She's right."

"Since his trial I have given up my practice of criminal law. I have not had a jury trial since I heard the verdict of this jury in this case, and don't intend to. I just feel like I'll let other people handle these problems for a while because if justice can miscarry so badly, I'd rather do something else."

"An important message for Errol Morris: Stay away from the hearing in Dallas on Wednesday. You might disappear."

"Our criminal justice system, on paper, is the best in the world… but we're human, and so we make mistakes. If you execute and execute and execute, at some point you will execute an innocent man."

"I like to call Errol the Easter Bunny. I needed somebody to gather up all these facts and put them in one basket. He went and did his investigative work, and everything we're doing now is because of what he did with his investigation of the facts. That is what The Thin Blue Line did for me."

"The Thin Blue Line was a project done by Errol Morris and though it helped me by taking my case to the public, I could not win my freedom in a theater. It had to be achieved in a courtroom. After my release, Mr. Morris felt he had the exclusive rights to my life story. He did not. Therefore, it became necessary to file an injunction to sort out any legal questions on the issue. The matter was resolved before having to go before a judge. Mr. Morris reluctantly conceded that I had the sole rights to my own life. I did not sue Errol Morris for any money or any percentages of The Thin Blue Line, though the media portrayed it that way."

"It seems like my whole life is surrounded by "wrongs" of some kind and it seems like I've never done the right thing when I could and should have. Absolving Randall Dale Adams of any guilt is a difficult thing for me to do, but I must try to do so because he is innocent. That is the I truth."

"Yes I do. Sir, in honor of a true American hero. "let's roll". Lord Jesus receive my spirit."

"The movie wasn't accurate. It wasn't, you know. I went along because he said what the heck, it's a movie. He tried to make me look like trash."

"The re-enactments in The Thin Blue Line were never used to make you think you were looking at the real world. In fact, they were ironic re-enactments, re-enactments that were in conflict with each other, re-enactments that were demonstrations of falsehood, re-enactments of beliefs, re-enactments of what people claimed that they had seen rather than what I thought they had seen. And the purpose of them was to bring you deeper and deeper and deeper into the mystery of what actually happened. And to heighten the conflict between the claims made by the various witnesses and the reality of that world out there. Because, after all, there is a world out there in which things happen or don't happen."

"I've had people accuse me of being responsible for reenactment television, for infotainment television … The reenactments have been widely imitated, but the use of graphics in the Thin Blue Line, the use of close-ups of words, or parts of an actual document, is also something that has been imitated widely. It's now seen — and I could be wrong about this. I could have my history of the documentary confused and reinterpreted by myself in a self-serving way, I'm not sure — but I believe my use of these close-ups was something that's unusual and originates with Thin Blue Line. So I like to think of it as not the convention, but something that's come to be imitated widely. Even by myself."

"People just come and look....They're looking to see if there's a common ground. They're constantly trying to find themselves in another social animal.""

""For me, it's about what a lot of my work is about, creating a character in their specific situation and also revealing their mental landscape, a model of their universe. At the heart of it, this was made when my parents were dying and I was fascinated with the way mortality interferes with our plans whether we like it or not." ~Errol Morris "Sand that Grows and Other Stories" by Liam Lacey, April 29, 2005"

""Then I got interested in the mole rats. What's the connection between the lion tamer and the mole rats? I don't know if there even is one. Mole rats spend their entire lives digging tunnels. They have a rigid social system. They're like wasps or bees - there's a queen and workers. Mole rats dig at random, looking for tubers. Maybe they find a tuber, or maybe they don't. They just dig away. At one point I had thought the mole rats addressed the Utopian ideal of what it would be like if there were no crime or criminals, if you could say hello to your neighbor and your neighbor would say hello in return and we'd all be assured that no one would attack us with an axe. Is aggression innate in mammals? Well, supposedly not in mole rats. The mole rat was thought to be the only mammal that lives in harmony with its fellow-mammals, its fellow mole rats. The only. But it turns out that mole rats are nonviolent only under certain circumstances - that, in fact, they can be really nasty critters after all, who at times really do seem to hate one another. When one colony of mole rats meets another, they can be extremely vicious. Anyway, that was my original idea - Dr. Grigson, lion tamers, mole rats. I then decided to add to this compote 'Electrocuting an Elephant' - which was, if anything, a miscarriage-of-justice story." ~Errol Morris, discussing his planned project Dr. Death. Source: Predilections by Mark Singer, 1989"

"I became involved in the manufacture of execution equipment because I was concerned with the deplorable condition of the hardware that's in most of the states' prisons, which generally results in torture prior to death. A number of years ago I was asked by a state to look at their electric chair. I was surprised at the condition of the equipment and I indicated to them what changes should be made to bring the equipment up to the point of doing a humane execution."

"The human body is not easy to destroy and it is not easy to take a life humanely and painlessly without doing a great deal of damage to the individual's body. Excess current cooks the tissue. There have been occasions where a great amount of current has been applied and the meat actually will come off the executee's body like the meat coming off a cooked chicken."

"As you've probably guessed by now, I am a proponent of capital punishment. I am certainly not a proponent of capital torture. We must always remember and we must never forget, the fact that the person being executed is a human being. One of the things that I've had to deal with is the feelings of the people who are doing the executions. The guards that work with the execution equipment are generally the same guards that have dealt with that inmate for the last five, ten, fifteen, and sometimes twenty years while the man was on death row. . . .Most people think of a hardened criminal and a murderer as someone who is in a cell and going to be executed, but these people are really no different than somebody that we work with every day. The only difference is that the inmate doesn't go home and the guard does. And now at the end of this ten or fifteen year cycle, they now are faced with the task of executing this man with equipment that's defective. With equipment that 's going to cause pain."

"I've been drinking coffee for a long time, since I was probably around 4 or 5 years old. It's still true, I love coffee. I think it's running through my veins. Coffee never bothers the ulcer, but I remember, must be 15, 20 years ago when I went to the doctor, he was asking me, how much coffee do you drink a day, and I says, about 40 cups, so he's writing down. He says, how much coffee you drink a day? And I says about 40 cups. He says, how much coffee do you drink a day? and I says about 40 cups. He says, look, I am not kidding. I says, I'm not kidding either. He said, Oh? How much do you smoke a day? I said about six packs. He said, six packs of cigarettes, 40 cups of coffee a day, he says, you should be dead by now. [laughs]"

"Because of my expertise in the construction of execution equipment, I was asked to testify by the defense team of Mr. Ernst Zundel, a German national living in Canada, for some 20 odd years, who published a pamphlet, 'Did Six Million Really Die?'."

"What happened in all of these facilities is undoubtedly a mystery. Whether or not these facilities were used for gas execution, that's not a mystery; I don't believe they were, because in my best engineering opinion I don't think they could've been."

"Of course I'm not an anti-Semite. I have a lot of friends that are Jewish. I've lost Jewish friends, too, because of what's happened. I bear no ill will to any Jews any place, whether they're in the United States or abroad. I bear a great deal of ill will to those people that have come after me, those people who have persecuted and prosecuted me, but that's got nothing to do with them being Jewish. That only has to do with the fact that they've been interfering with my right to live, think, breathe, and earn a living."

"We can solve the mystery of the gas chambers in Auschwitz and all these other places if we find an American expert, because America is the only country that dispatches people with gas. You can't open up the telephone book and say gas, and then chamber, and then experts, and out come ten Fred Leuchters. No. There's nobody. Fred Leuchter was our only hope. This was the first time that the scene of the crime of mass murder, industrial mass murder, was examined forensically."

"When my doubt about the Holocaust first came to me, it took me two and a half years, and I was like a reforming alcoholic. I was like one yo-yo, back and forth: believe, not believe, maybe believe, false belief, true belief. Fred was able to purge his own mind within a matter of a week. That's amazing to me. So I said: 'Fred, what convinced you?' He said: 'Ernst, it wasn't what I found, it was what I didn't find.' That blew me away. It never, ever occurred to me that a man could be convinced by something that is not there. That's what Fred said."

"The Leuchter Report, about five hundred thousand circulate in Germany. There have been translations; a Leuchter edition appeared in Russian. In Latvia, in Hungary, in Spanish. The Leuchter Report is out there in dozens of languages, and I would dare say in millions of copies. We will not go down in history as being a nation of genocidal maniacs. We will not. We can, with historical truth, detoxify a poisoned planet."

"Did Christ have a diploma in Christianity? Did Marx have a diploma in Marxism? Did Adolf Hitler have a diploma in National Socialism? No, they did not. But they knew one hell of a lot about their field."

"Holocaust denial for me is so revolting, and the way for me not to immediately become sick with having to deal with Leuchter, was by saying, OK, I am going to map his journey. I have a job to do and my job, my first job, is to try to understand where this guy was at what time. To take that tape and to record every camera angle, where it was, what piece of wall they were looking at, where he took the samples. It was important to be able to follow that trail very, very precisely. I wanted to see how he had done it."

"Leuchter is a victim of the myth of Sherlock Holmes. A crime has been committed. You go to the site of the crime and with a magnifying glass you find a hair, or you find a speck of dust on the shoe. Leuchter thinks that is the way reality can be reconstructed. But he is no Sherlock Holmes."

"Crematorium II is the most lethal building of Auschwitz. In the 2500 square feet of this one room, more people lost their lives than any other place on this planet. 500,000 people were killed. If you would draw a map of human suffering, if you created a geography of atrocity, this would be the absolute center. Every year, remains of human beings are found. Bones, teeth. The earth doesn't rest."

"Holocaust denial is a story about vanity. It is a way to get in the limelight, to be noticed -- to be someone -- maybe to be loved. I have a sympathy to Fred, who's lost in Auschwitz, because I think he's lost. But not any more with the Fred who appears in these conferences."

"He's not the kind of person that would strike you. He is a mouse of a man. He's also a man who is totally honest and totally innocent; innocent in the sense of being a simpleton. He went into this as a glorious adventure. He was taken out of oblivion. He was given this task to perform. He traveled abroad, probably for the first time in his life, to Poland. He came back with these earth-shattering results. The big point: there is no significant residue of cyanide in the brickwork. That's what converted me."

"He's been destroyed as a human being; he's had his marriage destroyed, he's had his life destroyed. I frankly am surprised he didn't go and commit suicide, jump under a train. He saw everything that he had built up in his own quiet, humble way, destroyed by these people he had never met, whom he had offended. All he did was take the bucket and the spade and go over to Auschwitz and come back with the samples, and that was an act of criminal simplicity. He had no idea of what he was blundering into. He wasn't putting his name on the line because he had no name. He came from nowhere and he went back to nowhere."

"I don't think the Leuchter results have any meaning. There's nothing in any of our data that says those surfaces were exposed or not. Even after I got off the stand, I didn't know where the samples came from. I didn't know which samples were which. And it was only at lunch that I found out, really, what the case involved. Hindsight being 20/20, the test was not the correct one to have been used for the analysis. He presented us with rock samples anywhere from the size of your thumb up to half the size of your fist. We broke them up with a hammer so that we could get a sub-sample; we placed it in a flask, add concentrated sulfuric acid. It undergoes a reaction that produces a red-colored solution. It is the intensity of this red color that we can relate with cyanide concentration. You have to look at what happens to cyanide when it reacts with a wall. Where does it go? How far does it go? Cyanide is a surface reaction. It's probably not going to penetrate more than 10 microns. Human hair is 100 microns in diameter. Crush this sample up, I have just diluted that sample 10,000; 100,000 times. If you're going to go look for it, you're going to look on the surface only. There's no reason to go deep, because it's not going to be there. Which was the exposed surface? I didn't even have any idea. That's like analyzing paint on a wall by analyzing the timber that's behind it."

"There is no slippery slope for Mr. Fred Leuchter. The man is an anti-Semite. There are hate-mongers in this country, and he's one of them. He handed over his entire life and reputation to the cause of spreading hatred. He didn't stop, he kept on going. He could've gotten out any time. . . .I don't think he's naive. I think he was empowered by being part of this group. Who is this guy? The bottom line here, is you got a guy who basically made a deal with the devil."

"Fred Leuchter: What is the film about to you? Errol Morris: It's a good question. What it is about is my curiosity--how you got yourself into this fix."

"Isn't Fred a sweetie?"

"It seemed that that audience had no place to stand outside Fred. They became trapped in his ego. They took him quite literally. And when the film was over there were people in the room who wondered whether the Holocaust had really happened."

"Fred's story raises lots of interesting questions, such as: What happens if you really need to be loved and the only people who will love you are Nazis? And his version of what he saw in Auschwitz and what happened to him afterward seems to come right out of Nabokov--the clueless narrator, the narrator so far out of touch with what he's saying that it's totally absurd. But how clueless could he possibly be? That's the central mystery. Do we all have these self-invented fables? There's a deep mystery about why Fred's doing what he's doing, and for me it connects with the mystery of the Holocaust: the mystery not of whether it happened but of how it could happen. Is it happenstance that Fred, a person obsessed with death-not unlike me-ended up at Auschwitz? Somehow, he was drawn there, pulled to the center of twentieth-century death. And maybe it's pulling me, too. It's one of my predilections that people do not do evil knowingly. Evil is always construed as some form of doing good. We are always in some kind of delusional state about what our actions mean. I hope this movie becomes more effective if Fred emerges as more a person like you and me. If it's a movie that creates one more Manichaean illustration of good and evil, it becomes less interesting. If he becomes a person who makes us think about how the Holocaust came about, then it's useful."

"Fred hasn't questioned anything we've asked him to do over the last five days. I haven't lied about anything. I haven't had to; he's too honest and decent a man, I look over all this, and I think he's just misguided. He got mixed up with the wrong group of people. There are people who think he's evil, but he's not. The movie, I think, is becoming a kind of odd danse macabre, with Leuchter as my brand of existential hero, or, if you like, existential antihero: the completely benighted human being who still deserves our sympathy."

"Part of me has very little desire to get into a debate with Ernst Zündel, David Irving, or even Leuchter. I have read a number of reviewers who have taken me to task for not declaring whether I believe Leuchter is a good person or evil person, that somehow I've been remiss in this regard. I beg to differ. The movie is absolutely clear that his ideas are pernicious and false. That is not up for discussion. What is up for discussion is that I wish to put the viewer in the same position for what I find myself in. It's not to give you on a platter a received view but to force you into the mystery of what is in fact very disturbing and peculiar behavior."

"Very near the end of my work editing the movie, before it was to be shown publicly for the first time, I invited Fred into my studio to look at what I had done, to give him the opportunity at least to see what was going to be put in front of the public and to comment on it. He told me he liked the movie. He felt that the movie had treated his story fairly and responsibly. And then I presented him with my list of reasons why he's wrong, many of which are in the movie itself. The documents, these powerful documents that are in the Auchwitz archive. German documents. Not allied documents, not Jewish documents, NAZI documents. Nazi documents that make specific reference to all of these things Fred said were not there and could not possibly have been there. Fred's answer: I dunno where these documents came from. I can't vouch for their authenticity. I'll just keep my original position."

"When you first against a train, it's like everything seems so big, like, wow! It's like you're in a yard of like metal giants; everything is so hard and so steel, like you're just there. You're like a little dude like in the midst of these metals and like you're here to produce something, well, like you're here to try to produce something."

"People look at a person and like, 'What? You write on trains,' and, 'You vandalism,' and all that. Yeah, I vandalism alright, but still in general, I know what I'm doing. I did somethin' to make your eyes open up, so why is you talkin'?"

"That's some "never forgive" action!"

"You gotta be able to take over a line with INSIDES, take it over with THROW UPS, TOP TO BOTTOMS. You gotta do everything ya know. If you specialise in One Thing you cane never call yourself an All Out King."

"No, I ain't running the system, I'm bombing the system!"

"When you hold a can of Rust-Oleum™ in your hand, it’s like holding 3 other sh-t brands in your hand. It lasts, it covers, and it’s not aerosol like Krylon™, [where] it just comes out in mist. [Rust-Oleum] comes out like paint."

"I'm on what they call a six-month probation. l ain't painting right now. To make a long story short, I'm on what they call a six-month probation. l call it a "six-month vacation," never mind probation."

"They're saying that the kids run the system, that the system is out of control, that 15 or 16-year-old kids are running the system, and that graffiti is the symbol of that."

"The street game is the only thing the white man can’t control."

"Any man can kill, right? Any woman can be turned out."

"I ain't never took no square no where."

"Sex really don't mean that much to me, it really aint a part of my routine, them tricks, they can have sex better than i can ever have sex."

"I aint never hold a girl hand and take her to the movies, i aint never took no square no where, and i do not buy dreams, i sell em!"

"I used to tell em you gotta sit down if you wanna know what it’s about with me. Why? ‘Cuz what I got ta tell ya is more powerful than a head-on collision doin’ 90 miles an hour down a one way street. W-w-what is it? Ahhh…are you ready, girl? Yeah. I’m a muthafuckin’ PIMP! Hahahahaha!"

"My name is Rosebudd with two d's for a double dose of this pimpin'."

"Do you see these nails? I had nails, I sold these nails before I started pimpin too, I sold them to Revlon. Revlon bought my nails, they was like an inch long and I sold all 10 of them. They all used to grow like that because all I did was peel money and touch bitches. That’s all I did, talk shit and swallow spit all day long."

"She a funky, once-a-month-bleeding, dirty-down bitch."

"Priests need nuns, doctors need nurses. So ho's need pimps."

"hoodrats acting like they know me!"

"If a ho don't have no instruction, she's gonna be headed for self-destruction, nam sayin?."

"I'll pimp a bitch in chilly cold blood."

"Kenny Red what's happening? Shit, the same old soup just reheated. You know the routine. A pimp do."

"First thing I do, I take me a shower, wash my face, brush my mothafuckin' teeth, I gotta do my hair and all that kinda mothafuckin' shit, you know nawmsayin'? I got to get dressed, I got to smell good and errthang. It take me 2 to 3 hours to get dressed cuz it's lights, camera, and action, you know what I'm sayin'?!."

"Ehhh This Kenny Redd I gotcha Bitch."

"People be sayin' that we be making hos do this and we be making hos do that, but we aint making hos do a goddamn mother fucking thang when they talkin' 'bout this pimpin. We just introducing them to this shit and making sure that they be doin' this mother fuckin' shit right."

"Love don't mix with this pimpin man what the hell you talkin' 'bout"

""Any bitch can get out there and sell some pussy. Yeah, yeah, she can get out there and sell some pussy all day long. But she don't know the ins and outs and the ins and outs and outs and ins."

"If there ain't another pimp in the country, there's gonna be some mothafuckin' hoes, hoe-in..."

"Mary Magdalene was hoeing like a mothafucka in the Bible days... Jesus knew it!"

"It ain't easy, man. It might look glamour-like to ya, cuz ya see me riiiidin'...ya dig? Snakeskin down to tha flo', ya dig? Hat and shoes to match. Diamonds on fingers and watches on arms...It might look easy, but ya gon' hafta work some to get to this status...see ya at the top."

"Pussy gon' sell when cotton and corn won't."

"you thought i was only 8 deep? im filmore mother fuckin slim! That's just my second string hoes, my benchwarmers!"

"The momo you know, the motel.""

"i dont think any other race has the charisma fo this pimpin."

"you got to put some of them 5s on top of some of them 6s on top of some of 8s on top of some of them 11s so a pimp can see his money grow."

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

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

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

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

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

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

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

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

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

"Come on let's get Serious!"

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

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

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

"[re: Rae Carruth]: Goddammit, normally when you runnin' from the law, you wanna get a passport... go to Canada... Brazil... Mexico... uh-uh, not Ray-Ray! Ray-Ray took his ass to Nashville!"

"[re: Titanic]: The band was playin' as the ship went down. What black band YOU know gon' keep playin, with the damn ship goin down'? Kool & the Gang woulda been unpluggin' shit! [acts like picking equipment up with the microphone cord] "Man, let's get the fuck outta here! Wrap that shit up. Goddamn it, come on! Wrap this shit up! Let's go! GODDAMN IT, LET'S GO! Get that amplifier off 'fore somebody fuck around and get shocked!""

"[re: The Temptations and soul music vs. rappers and hip hop music] Five Temptations...one mic. Whatever they did, they came back to the mike! Stank-ass rappers make me sick! Now, ev'rybody on the goddamned stage got a mike! Forty motherfucking people! Motherfucker, why? We can't understand what ONE of yo' asses is sayin'!""

"[to "Boogie", a hip-hoppish member of the audience, after "Boogie" tells him he attends "computer school" and works in the field of "computer technology"] I know we shouldn't say this to one another as black people...but you can't spell motherfucking "technology". I know you shouldn't even judge a book by its cover...but there is nothing about you, "Boogie", that says "computer"...or "school"!"

"When you go to church that much when you're a kid, you don't really care for church that much. So what you got to do is find little things to like about church, that make you want to go. And the one thing I liked about my church -- it might seem a little strange to you -- but the one thing that made me want to go all the time was when I found out that there was people that cussed at the church. That might not do it for y'all, but dammit, that done it for me."

"You can't fire white folk. You fire white folk, you'd best believe somebody gettin' shot that day. "I'm FIRED? I'll be right back, you sons of bitches...!" You fire a brother, we be mad for a different reason. "How come you didn't call me at home, motherfucker? You knew I was fired yesterday! Makin' me burn up all my goddamn gas...""

"Nobody love God like black folks. Black folks love us some God. Jesus was black. If Jesus was black, then you know the apostles were black, 'cause wouldn't no 12 white men follow no brother. Not unless they was the police and Jesus had a warrant, huh? They ain't have to describe Jesus to me for me to know he was black. Jesus' first miracle was turning water into wine at a wedding. Now, if that ain't black folks' shit, I don't know what is. "Lord, we done ran outta wine!" "Well, you know, normally, I don't do this, but, uh...[Jesus turns the water into wine with one hand motion] gon' head, keep the party goin'.""

""We're going out of town; you're gonna have to stay with Big Mama." "GOD DAMN! I hate that bitch and she hate me!" Everything you did over your mean grandmama's house gonna run up her light bill. "Don't you come in my house talking loud! You gonna fuck around and run up my light bill! My light bill be sky high cause of yo' little black ass." Got them silly-ass superstitions: "Don't use the phone; there's a rainstorm! Lighting be done struck my house! Then my light bill be sky high!" "It's bad luck opening an umbrella in the house." No, it's bad luck having a hole in your fuckin' roof, that's what's bad luck!"

"Never in life do you hear about a large group of black people getting killed altogether. 'Cuz we run. Nigga, we run when we see somebody else runnin'. We don't ask no questions why we runnin', we don't need no run coordinator to get the runnin' all organized. Nigga, if I'm with you, and you start runnin'...dammit, I'ma start runnin'!"

"I met this dude the other day named Daryl...he gon' tell me to call him "Delicious". "Ced, you can just call me 'Delicious'". [Laughs, then becomes serious] I'm a grown-ass man, dawg. I ain't gonna call no other dude "Delicious"! What if that nigga way down the street or summin? "'DELICIOUS'!!! Ay, D, hol' up!"."

"[re: Luther Vandross] I don't do "little" Luther. I like "big, curl-not-quite-right" Luther. That boy made all that money, and his curl never...*sigh*...his curl never...really...curled all the way over!"

"[On sex] Imagine if they put sex in a can."

"[On his penis] if I pull my shit out right now this whole room get dark."

"[re: whipping a child] I will fuck a kid up. When a kid gets one-years-old, I believe you got the right to hit him in either the throat or the stomach. If you grown enough to talk back, you grown enough to get fucked up!"

"If you don't bust a nut when I bust a nut... then you fresh outta fuckin' luck wit' me!"

"[re: his two-year-old niece and six-year-old effeminate nephew]: I came home at one o' clock in the morning. The two-year-old send the faggot downstairs for some milk and cookies! I'm comin' upstairs, he walkin' downstairs. He gon' walk past me like I'm a visitor, you know... [imitates his nephew's blank stare]. I said, "where you goin?" [as his nephew, in a stereotypically gay voice] "To get some milk an' cooookies!" He said it so funny, I wanted to hear him say it again! I said, "some what?" [as his nephew]!!"."

"I had a white guy tell me... he said, "Bern, why do black folks use the word 'mother-fucker?'" Well, I'm gonna break down what the word "mother-fucker" actually means. "Mother-fucker" is somethin' that black folks have been using for years. It's about expression. Don't be ashamed of the word "mother-fucker." Because the word "mother-fucker" is a noun: it describes a person, place, or thing!"

"We got jokes."

"The heavyweight champions of comedy"

"{Screen text after opening credits}"

"It is our will that this state shall endure for a thousand years. We are happy to know that the future is ours entirely!"

"We want this people to be hard, not soft, and you must steel yourselves for it in your youth!"

"Our party remains as firm as this rock and will not be divided by any force in Germany."

"When our party had only seven men, it already had two principles. First, it wanted to be a party with a true ideology. And second, it wanted to be the one and only power in Germany."

"All upright Germans will be National Socialists, but only the best National Socialists will be party members!"

"It is not the State that orders us; but it is we who order the State!"

"{Reading an excerpt from Hitler's official proclamation}: No revolution could last forever without leading to total anarchy. Just as the world cannot exist on wars, so they cannot exist on revolutions. Nothing truly great on this earth has ruled for millennia and was forged in decades. The tallest tree has the strongest growth behind it. What must withstand centuries must also need centuries for it to become strong!"

"It is our unshakable belief in ourselves, it is our hope for today's valued youth, who courageously are charging forward and will one day be called upon to continue the efforts begun in the stormy years of the 1918 Revolution, an event which has gripped all of Germany and the historical importance of which is already being embodied today by the entire German Reich."

"Truth is the basis on which the power of the press stands and falls. Our only demand of the foreign press and our own press, is that they report the truth about Germany."

"Wherever one looks, progress develops, improvements are being made, and new values created. And wherever one looks since last year, there is much industrious activity that will continue in the future."

"A people that does not protect its racial purity will perish!"

"One thought must alone dominate all our work: to make the German worker an upright, upstanding, proud and decent citizen, enjoying equal rights with the rest of the Reich!"

"As chief of the German justice system, I can only say that since the National Socialist legal system is the foundation of the National Socialist State, for us, our supreme Führer is also supreme judge. And since we know how sacred the principles of justice are to our Führer, we can assure you, fellow citizens, that your life and existence is secure in this National Socialist State of order, freedom, and law!"

"May the bright flame of enthusiasm never be extinguished. It alone gives light and warmth to the creative art of modern political propaganda. This art rose from the depths of the people and in order to search out its roots and locate its power, it must always return to these depths. It may be alright to possess power based upon guns, it is however better and more gratifying to win and also to champion the hearts of the people."

"{Opening Speech}: I am opening this, our Sixth Party Congress, in respectful remembrance of Field Marshal, and President of the Reich, Von Hindenburg, who has passed into eternity. We remember the Field Marshal as the first soldier of the Great War, and, thus, also remember our fallen comrades. I welcome the esteemed representatives of foreign nations who honor the Party by their presence, and the Party, in sincere friendship, welcomes especially the representatives of the military forces, now under the command of the Führer. My Führer, around you are gathered the flags and standards of National Socialism. Only when their cloth will have decayed, will humanity looking back, be able to comprehend what you, my Führer, mean to Germany. You are Germany, when you act, the nation acts, when you judge, the people judge! Our gratitude is the pledge to stand by you, through good days and bad, come whatever may. Thanks to your leadership, Germany will achieve her aim to become the homeland -- the homeland for all Germans in the world. You have been the guarantor of victory, you are for us the guarantor of peace! Adolf Hitler!"

"{To the audience after Hitler has given the closing speech}:The Party is Hitler! Hitler, however, is Germany, just as Germany is Hitler! Hitler! Sieg Heil! Sieg Heil! Sieg Heil!"

"150 years ago, the business corporation was a relatively insignificant institution. Today, it is all-pervasive. Like the Church, the Monarchy and the Communist Party in other times and places, the corporation is today's dominant institution. This documentary examines the nature, evolution, impacts, and possible futures of the modern business corporation. Initially given a narrow legal mandate, what has allowed today's corporation to achieve such extraordinary power and influence over our lives? We begin our inquiry as scandals threaten to trigger a wide debate about the lack of public control over big corporations."

"Through the voices of CEOs, whistle blowers, brokers, gurus and spies, insiders and outsiders, we present the corporation as a paradox, an institution that creates great wealth, but causes enormous, and often hidden harms."

"To determine the kind of personality that drives the corporation to behave like an externalising machine, we can analyse it like a psychiatrist would a patient. We can even formulate a diagnosis, on the basis of typical case histories of harm it has inflicted on others selected from a universe of corporate activity."

"Having acquired the legal rights and protections of a person, the question arises - what kind of person is the corporation?"

"The dominant role of corporations in our lives is essentially a product of roughly the past century. Corporations were originally associations of people who were chartered by a state to perform some particular function. Like a group of people want to build a bridge over the Charles River, or something like that."

"Corporations were given the rights of immortal persons. But then special kinds of persons, persons who had no moral conscience. These are a special kind of persons, which are designed by law, to be concerned only for their stockholders. And not, say, what are sometimes called their stakeholders, like the community or the work force or whatever."

"Robert Keyes: The word corporate gets attached in almost, you know, in a pejorative sense to and gets married with the word "a-gen-da." And one hears a lot about the corporate a-gen-da as though it is evil, as though it is an agenda, which is trying to take over the world. Personally, I don't use the word "corporation." I use the word "business." I will use the word... use the word "company." I will use the words "business community" because I think that is a much fairer representation than zeroing in on just this word "corporation.""

"Ray Anderson: The modern corporation has grown out of the industrial age. The industrial age began in 1712 when an Englishman named Thomas Newcomen invented a steam driven pump to pump water out of the English coal mine, so the English coal miners could get more coal to mine, rather than hauling buckets of water out of the mine. It was all about productivity, more coal per man-hour. That was the dawn of the industrial age. And then it became more steel per man-hour, more textiles per man-hour, more automobiles per man-hour, and today, it's more chips per man-hour, more gizmos per man-hour. The system is basically the same, producing more sophisticated products today."

"Mary Zepernick: There were very few chartered corporations in early United States history. And the ones that existed had clear stipulations in their state issued charters, how long they could operate, the amount of capitalisation, what they made or did or maintained, a turnpike or whatever was in their charter and they didn't do anything else. They didn't own or couldn't own another corporation. Their shareholders were liable. And so on."

"Richard Grossman: In both law and the culture, the corporation was considered a subordinate entity that was a gift from the people in order to serve the public good. So you have that history, and we shouldn't be misled by it, it's not as if these were the halcyon days, when all corporations served the public trust, but there's a lot to learn from that."

"Robert Monks: The great problem of having corporate citizens is that they aren't like the rest of us. As Baron Thurlow in England is supposed to have said, "They have no soul to save, and they have no body to incarcerate." (and) The corporation is an externalizing* machine, in the same way that a shark is a killing machine. *(moving its costs to external organizations and people)"

"Michael Moore: I believe the mistake that a lot of people make when they think about corporations, is they think you know, corporations are like us. They think they have feelings, they have politics, they have belief systems, they really only have one thing, the bottom line - how to make as much money as they can in any given quarter. That's it."

"Ira Jackson: The eagle, soaring, clear-eyed, competitive, prepared to strike, but not a vulture. Noble, visionary, majestic, that people can believe in and be inspired by, that creates such a lift that it soars. I can see that being a good logo for the principled company. Okay, guys, enough bullshit."

"Oscar Olivera: At the climax of the struggle, the army stayed in their barracks; the police also remained in their stations; the members of Congress became invisible; the Governor went into hiding, and afterwards, he resigned. There wasn't any authority left. The only legitimate authority was the people gathered at the city square making decisions in large assemblies."

"[speaking about his schoolwork] I am not going to screw up this year…"

"[talking during his band session] All that Satanic stuff... (talking during his band session)"

"The lives lost were precious lives- to their county, to their loved ones, and to the men themselves."

"Children are able to forget quickly. Yesterday, they wept. Today there are smiles and even laughter. Tomorrow it will be as though the bad things have never happened."

"Our prime military aim being to engage and defeat the enemy, the capture of the town itself and the liberation of its people is of an incidental nature. But the people, in their military innocence, look upon us solely as their deliverers. (Beat) It was to free them and their farmlands that we came."

"The new-won Earth at San Pietro was plowed and sown. It should yield a good harvest this year." (Pause) "And the people pray to their patron saint to intercede with God for those who came to deliver them, and moved on to the north with the passing battle."

"All scenes in this picture were photographed within range of enemy small arms or artillery fire. For purposes of continuity, a few of these scenes were shot before and after the actual battle of San Pietro."

"Mark W. Clark - Himself"

"John Huston - Narrator"

"[To the audience as he's coming out for an encore after a lengthy night of playing] You're still there, huh?"

"The Band had been together for 16 years together on the road. We played eight years in bars, dives and dancehalls, eight years in concerts, stadiums and arenas. We did our last concert. We called it The Last Waltz."

"Winterland was the first place The Band played as The Band. Some friends showed up and helped us take it home."

"[Talking about getting a job playing with Ronnie Hawkins] He called me up, and I said, "Sure I'd like a job. What does it mean? What do I do?" And he said, "Well, son, you won't make much money, but you'll get more pussy than Frank Sinatra.""

"The music took us to some strange places ... physically, spiritually, psychotically. It just wasn't always on stage."

"We started out with The Crackers. Tried to call ourselves The Honkies. Everybody sort of backed off. It was too straight. So we decided call ourselves The Band."

"I just want to break even."

"There is the view that jazz is evil because it comes from evil people, but the greatest priests on 52nd Street and on the streets of New York were the musicians. They were doing the greatest healing work. They knew how to punch through music which would cure and make people feel good."

"Happy Thanksgiving!"

"We always seemed to get a whole lot more done when we didn't have a lot of company around. We were more productive. And as soon as company came, of course, we'd start having fun. You know what happens when you have too much fun."

"People ask me about The Last Waltz all the time. Rick Danko dying at fifty-six is what I think about The Last Waltz. It was the biggest fuckin' rip-off that ever happened to The Band—without a doubt."

"I'm pretty sure that Levon [Helm] is the only honest, live element in The Last Waltz, with the exception of Muddy Water's vocal. Everything else was overdubbed and redone. Levon was basically gone, because he was disgusted with certain of the business practices. Robbie asked him to do his part over again, but Levon had nothing to do with it."

"Robbie was right in that there were some good reasons for overdubbing the whole thing. Richard wasn't singing well, Rick's bass was out of tune, and Robbie wanted to improve his guitar solos. Also, the horns were recorded completely out of balance and had to be redone in New York with arrangements Henry Glove and I put together."

"Opening title card: This film should be played loud!"

"Eric Clapton: [After his guitar strap comes loose during a solo] Hold on!"

"It started as a concert. It became a celebration. Now it's a legend."

"Robbie Robertson — Himself"

"Rick Danko — Himself"

"Richard Manuel — Himself"

"Levon Helm — Himself"

"Garth Hudson — Himself"

"The witches, the wise women, and the healers were also always the counselors. It's a whole other tradition of knowledge and learning that has been suppressed because it had political implications."

"What strikes me is the vehemence of the letters I receive, the hate mail, regarding having a witch on our faculty. I thought that the burning of witches was settled several centuries ago. But people write me and sign it "a good Christian", "an ecumenical Christian". They say "you and your witch friend can burn in Hell forever". It's just amazing what this brings up — that there's a lot of buried material in a lot of Christians' lives."

"There's no question that in the Middle Ages, Mary was understood as a goddess figure."

"The mere fact that women are singled out particularly I think says something about our society, about our culture which to a large extent is misogynist. We get it even in the New Testament, in the writings of Saint Paul, that it is woman who introduces sin, it is the woman who is the temptress. In a sense, it is the woman who is the cause of the Fall."

"Why do you search so diligently for sorcerers? Take the Jesuits, all the Religious Orders and torture them. They will confess. If some deny, repeat it a few times. They will confess. Should a few still be obstinate, exorcize them, shave them, only keep on torturing. They will give in. Take the Doctors, the Bishops of the Church. They will all confess."

"Few people realize that the Christianization of Europe resulted in the loss of millions of lives."

"The Church of Rome set up the Inquisition to enforce its will. People who criticized the Church, or held different beliefs, were charged with heresy and executed as criminals."

"The most famous visionary of her age was Joan of Arc. In 1429, she led the French to victory over the English after a hundred years of war. Two years later she was condemned as a heretic and a witch by the same Church that would elevate her to sainthood."

"The Inquisition announced that no one did more harm to the Catholic Faith than midwives. They eased the pain of labor — God's punishment for Eve's sin."

"New laws proclaimed that any woman who dared cure without having studied was a witch and must die. Since most women were barred from University, the rise of the male medical profession was guaranteed. It was the testimony of male doctors that sent many to their death."

"History is written by the winners."

"We now know that most persecutions of witches occurred during a 100-year period, between 1550 and 1650, and the total number hanged or burned probably did not exceed 40,000. For years, many Wiccans understood that the figure of 9 million, so casually bandied about by many of us, was hyperbole, yet this number continued to find its way into countless books, films, and news articles. I confess that only last year, I told a reporter that the figure was close to 1 million. Recently, a German historian, Wolfgang Behringer, discovered the source of the 9 million figure. It was first used by a German historian in the late 18th century. He took the number of people killed in a witch hunt in his own German state and multiplied it by the number of years various penal statutes existed, and then reconfigured the number to correspond to the population of Europe. "Nine million" still gets repeated every time "The Burning Times," a searingly powerful film, is screened or shown on public television. The film's heartrending and appalling descriptions of some of the trials, tortures, and deaths that did occur is not nullified by this new and more accurate research. But it serves no end to perpetuate the miscalculation; it's time to put away the exaggerated numbers forever."

"The kind of connectedness women's spirituality and goddess spirituality teaches about the earth is missing in politics today and the people who are guiding our countries see only nature as a resource for industrial growth. They don't see the sacredness and the interconnectedness and the simple fact that we live on a finite planet."

"And this is where we live today: suddenly everything was fortified; the warrior was honored; we follow a "sky god"; and we have a "patriarchal" social system. I don't think you can understand patriarchy unless you look at the fact that fear is at the core. Fear that female sexuality will somehow become this chaotic force. That nature will become this chaotic force overtaking us. So we have to have everything tightly controlled and hierarchically ordered. In every cultural era, there have been forces that were going toward the negative, toward the destructive and forces that were going toward the positive, toward the wisdom path. And I think if we can get that message out to more young people, that there are cultural choices, and economic choices."

"The more I listened to what they had to say about the 'Great Bearded White Man in the Sky' the more I realized that he was no one I could talk to. You couldn't say nothing to the 'dude'. He didn't answer prayers. He could 'go off' on you at any minute and you were supposed to be grateful no matter what he did. This is nobody who made any kind of sense to me in my naiveity. So I put him down and hung with Mary [the mother of God]."

"It helps me a lot to remember that I'm an ancestress of tomorrow and that what I say and do today - 5,000 years from now - may be coded into the symbolism of what they believed then. If you think that way, no tiny act is meaningless. Everything becomes very, very important."

"The spiritual journey of Earth's peoples began with the idea of a goddess, universally called 'The Great Mother'."

"History books call it "The Dawn of Western Civilization", The "Golden Age" of Greece. For the man, it was the beginning. For the woman, it was the end. The Greeks announced that history would now begin and proceeded to obliterate or pervert the 25,000 years that had gone before."

"Athena was redefined: Once the Goddess of Wisdom, she became the Goddess of War. The violent and the erotic became linked as they never had before."

"Man, said Man, had always been the natural master of the earth. He was now also the co-creator: Athena sprang, fully armed, from the brow of Zeus; Eve was born from Adam's rib. Female inferiority forever was proclaimed by the book of Genesis."

"The 'conquerer' has replaced the 'nurturer' as the symbol to be respected."

"God can do anything! We can just say, "God, fix the world!""

"This is a sick old world. Well then, let's just fix it! Somebody get your tools out and let's just fix this old world!"

"Listen, we hold the keys. We can change the world. Boys and girls can change the world? Absolutely!"

"And let me say this about Harry Potter. Warlocks are enemies of God! And I don't care what kind of hero they are, they're an enemy of God, and had it been in the Old Testament, Harry Potter would have been put to death!"

"Where should we be putting our efforts? Where should we be putting our focus? I'll tell you where our enemies are putting it. They're putting it on the kids."

"It's no wonder, with that kind of intense training and discipling, that those young people are ready to kill themselves for the cause of Islam. I wanna see young people who are as committed to the cause of Jesus Christ as the young people are to the cause of Islam. I wanna see them as radically laying down their lives for the Gospel as they are over in Pakistan and Israel and Palestine and all those different places, you know, because we have... excuse me, but we have the truth!"

"This means war! This means war! This means war!"

"Righteous judges, righteous judges!- (after Lou Engle's sermon)"

"I really feel that this generation is a key generation to Jesus coming back."

"We're being trained to be God's army."

"Whenever I run into a non-Christian, you know, there's always something that doesn't feel right--something that makes my spirit feel yucky."

"When I grow up, I thought it would be fun to be one of those people who paint nails and stuff, because you would get a chance to tell them about the Lord."

"Man's decision--whatever! God's decision--something."

"God is not in every church. There's such a thing, there are ... certain churches they're called "dead churches," and the people there, they sit there, like this ... (sarcastic monotone) "We worship you God, we worship you God." They sing like, three songs, then they listen to a sermon. Churches that God likes to go to are churches where they're jumping up and down, shouting his name and just praising him. They're not acting, they're not quiet, like (sarcastically) "We worship you." They're like (shouting) "Hallejuah, God!" And depending on how they invite him, he'll be there or not."

"I feel like we're kind of being trained to be warriors, but in a much funner way ... there's an excitement, yet peace at the same time too; it's really cool."

"And really, Britney Spears and Lindsey Lohan, people like that, I could care less for because their songs are focused on guys or girls, and we as Christians ... I do not believe in that."

"When I dance, I really have to be sure that it's God, because people will notice when I'm dancing for the flesh."

"Tracy, Levi's mom: Our firm belief is that there are two kinds of people in the world--people who love Jesus and people who don't."

"I am Al Gore, and I used to be the next president of the United States of America. [laughter] I don't find that particularly funny."

"I've been trying to tell this story a long time, and I feel as if I've failed to get the message across."

"There are good people, who are in politics — in both parties — who hold this at arm's length, because if they acknowledge it and recognize it, then the moral imperative to make big changes is inescapable."

"They looked up and they snapped this picture, and it became known as "Earthrise" And that one picture exploded in the consciousness of humankind. It led to dramatic changes. Within 18 months of this picture being taken the modern environmental movement had begun."

"The struggles, the victories that aren't really victories, the defeats that aren't really defeats, they can serve to magnify the significance of some trivial step forward, exaggerate the seeming importance of some massive setback."

"Making mistakes in centuries and generations past would have consequences that we could overcome. We don't have that luxury anymore."

"Old Habits plus Old Technology have predictable consequences. Old Habits, that are hard to change, plus New Technology can have dramatically altered consequences."

"We have to think differently about war. Because the new technologies so completely transform the consequences of that old habit that we can't just mindlessly continue the patterns of the past."

"It takes a sudden jolt sometimes for us to become aware of a danger. If it seems gradual, even if it really is happening quickly, we're capable of just sitting there and not responding, and not reacting."

"It's just human nature to take time to connect the dots. I know that. But I also know there can be a day of reckoning, when you wish you had connected the dots more quickly."

"There are three misconceptions in particular that bedevil our thinking. The first: isn't there a disagreement among scientists as to whether the problem is real or not? Actually... not really."

"I guess the thing I've spent more time on than anything else in this slide show is trying to identify all those things in people's minds that serve as obstacles to them understanding this. And whenever I feel like I've identified an obstacle I try to take it apart, roll it away, move it, demolish it, blow it up. I've set myself a goal: communicate this real clearly. The only way I know to do it is city by city, person by person, family by family, and I have faith that pretty soon that enough minds are changed that we cross a threshold."

"We have everything we need, save perhaps, political will. But, you know what ... political will is a renewable resource. ... The solutions are in our hands. We just have to have the determination to make them happen."

"I believe this is a moral issue. It is your time to seize this issue. It is our time to rise again, to secure our future."

"You look at that river gently flowing by. You notice the leaves rustling with the wind. You hear the birds; you hear the tree frogs. In the distance you hear a cow. You feel the grass. The mud gives a little bit on the river bank. It’s quiet; it’s peaceful. And all of a sudden, it’s a gear shift inside you. And it’s like taking a deep breath and going, "Oh yeah, I forgot about this.""

"Ultimately, this is really not a political issue so much as a moral issue. If we allow that to happen, it'd be deeply unethical."

"We have everything, save perhaps political will. But in America, I believe political will is a renewable resource."

"You see that pale, blue dot? That's us. Everything that has ever happened in all of human history has happened on that pixel. All the triumphs and all the tragedies, all the wars, all the famines, all the major advances.... It's our only home. And that is what is at stake: our ability to live on planet Earth, to have a future as a civilization. I believe this is a moral issue. It is your time to seize this issue; it is our time to rise again to secure our future."

"Future generations may well have occasion to ask themselves, "What were our parents thinking? Why didn't they wake up when they had a chance?" We have to hear that question from them, now."

"By far the most terrifying film you will ever see."

"A Global Warning"

"Nothing is scarier than the truth."

"We're all on thin ice."

"We work together to fix the problem we created"

"Al Gore - Himself"

"Billy West - Voice"

"We love the people of Islam and we hate the people of kufr, we hate the kuffaar."

"To try and demonise the efforts of these people by taking their comments out of context was shocking."

"I had a screenplay once where I was 90 pages in and I knew it was all over. I knew it was a disaster. And it was driving me crazy because the studio had gone down a path with me, so there was no getting out and I didn’t know how to go past these 90 pages. And then it all worked out&mdash;and the change which made it from absolute despair that there was no way to save it to it all working out was minute. But, but key. INTERVIEWER: Which screenplay was that? JAMES L. BROOKS: Uh, it was Terms of Endearment."

"There was a great director who directed a picture that I wrote who barred me from the set&mdash;quite appropriately&mdash;and said, “I’m sorry, Jim. When you’re directing, you don’t need to know everything. You need the illusion that you do.” And, you know, and I WOULD be there&mdash;behind him trying to signal the actors in, you know, in a way I wasn’t even aware of."

"[Hollywood] is a very male business, and it has in vast portions of it&mdash;the whole action movie part of it might as well be the United States Army in 1943 in that the ethics of it are, you know, boot camp and action movies and guns and explosions and all the rest of it, and that – so that means that about 50% of the business is not only pretty much closed off to women, but women don’t even wanna be in it!"

"I moved into directing for a couple of reasons. ... Most directors, I discovered, need to be convinced that the screenplay they’re going to direct has something to do with them. And this is a tricky thing if you write screenplays where women have parts that are equal to or greater than the male part. And I thought, 'Why am I out there looking for directors?'&mdash;because you look at a list of directors, it’s all boys. It certainly was when I started as a screenwriter. So I thought, 'I’m just gonna become a director and that’ll make it easier.'"

"Mostly, you write a script and someone’s gonna rewrite you. They get hundreds of&mdash;not hundred but they get ten writers to write something. If you have a big budget, you can go and get a lot of people to write on script .... I just actually heard that somebody said, 'Well, your screenplay got bought and now someone like Carrie Fisher will come in and rewrite you.' And I feel terrible, you know, because that’s not what I mean to do. My idea was never to raid something and trash it, you know. ‘Cause that – that’s more work for me!"

"I have gone to the set and you’re kind of around in this&mdash;it’s kind of combat writing when you do rewriting and stuff, and I feel like it’s a kind of ambulance chasing. Recently, I did this kind of a (laughing) where you go, “Oh, my God, it’s bleeding from the second act. Quick! Quick! Give me a suture! No, give me the paddles! This is the third act that’s having a heart attack!! The star is coming. The star is coming. And it's this incredibly intense process!”"

"Oh, I remember on Dave, I’d written a bad draft. I was on page 150 and climbing and I had no money then. ... I went home and I said to my wife that I needed to write it again because I wasn’t satisfied. So we took out a loan&mdash;a second mortgage on the house&mdash;to finish the script and Mike Ovitz, who was a very powerful agent in Hollywood at the time was yelling at me to deliver the script to one of his very powerful clients ‘cause I was late. There was a huge amount of pressure. I literally threw away the first draft and started again from page one."

"I think that it’s easy to give it away&mdash;give the definition of success away. Empower other people in determining whether you have talent. The catch-22 is that the more you do that the less you’ll be able to write. That’s the hard part – writing is all about the preservation of your own voice. So if you give that voice away by guessing what you think and you think and you think as you go, you’ll have less to say and then it’ll go away completely!"

"Steven E. de Souza (Die Hard): Well, Jack Warner may have been celebrated for calling writers 'Schmucks with Underwoods,' but 20 years earlier Irving Thalberg … said, 'The most important person in the motion picture process is the writer, and we must do everything in our power to prevent them from ever realizing it.'"

"Paul Guay (The Little Rascals, Liar Liar, Heartbreakers): For the first time, I heard actors saying my lines and my partner’s lines, and it was – it was extremely thrilling because the kids—most of them—were too young to change them, so they were actually reading them as written, which was nice, and it hasn’t happened a lot since then. Although I have to mention that one of the kids, who was ten, came up to us when we were doing rewrites and said, 'You know, can you write some more stuff for me?' And I thought, 'This is good training for the Jim Carreys of the world.'"

"Ed Solomon (Men in Black): The first screenplay I ever sold was something I’d written with Chris Matheson, my sometimes writing partner. It was Bill & Ted's Excellent Adventure. And we had a meeting with the director – not Steve Herek who ended up directing the movie, but a director prior to that, who had some really lame ideas. And Chris and I said, 'I don’t think that would really work.' And this director said, 'Well, if you don’t think that’s a good idea, we’ll – we’ll find some writers who do think it’s a good idea.' That was, you know, meeting one. And we thought, 'Agh.'"

"Come on now, it is a known fact that a woman do carry an evening bag at dinner time. There's no getting around that! You see it on channel seven, between "All My Children" and "Jeopardy","Another World", "Dallas", and the whole bit. An evening bag is a must! You have to carry something! No lady is sure at night."

"O-P-U-L-E-N-C-E: Opulence! You own everything. Everything is yours."

"Shake the dice and steal the rice!"

"When I first started going to balls it was all about drag queens who were interested in looking like Las Vegas showgirls, back pieces, tail pieces, feathers, beads and all that. But As the seventies rolled around the things started changing, it started coming down to just wanting to look like a gorgeous movie star like Marilyn Monroe, Elizabeth Taylor. And now they're went from that to trying to look like models; like Iman and Christie Brinkley and Maud Adams and all those children."

"This is white America. Any other nationality that is not of the white set, knows this and accepts this till the day they die. That is everybody's dream and ambition as a minority - to live and look as well as a white person. It is pictured as being in America. Every media you have; from TV to magazines, to movies, to films... I mean, the biggest thing that minority watches is what? "Dynasty" and "The Colbys". Umm, "All My Children" - the soap operas. Everybody has a million-dollar bracket. When they showing you a commercial from Honey Grahams to Crest, or Lestoil or Pine-sol - everybody's in their own home. The little kids for Fisher Price toys; they're not in no concrete playground. They're riding around the lawn. The pool is in the back. This is white America. And when it comes to the minorities; especially black - we as a people, for the past 400 years - is the greatest example of behavior modification in the history of civilization. We have had everything taken away from us, and yet we have all learned how to survive. That is why, in the ballroom circuit, it is so obvious that if you have captured the great white way of living, or looking, or dressing, or speaking - you is a marvel."

"I always had hopes of being a big star. But as you get older, you aim a little lower. Everybody wants to make an impression, some mark upon the world. Then you think, you've made a mark on the world if you just get through it, and a few people remember your name. Then you've left a mark. You don't have to bend the whole world. I think it's better to just enjoy it. Pay your dues, and just enjoy it. If you shoot a arrow and it goes real high, hooray for you."

"Shade comes from reading. Reading came first."

"You get in a smart crack, and everyone laughs and kikis because you've found a flaw and exaggerated it, then you've got a good read going."

"Shade is I don't tell you you're ugly but I don't have to tell you because you know you're ugly ... and that's shade."

"In real life you can't get a job as an executive unless you have the educational background and the opportunity. Now, the fact that you are not an executive is merely because of the social standing of life. Black people have a hard time getting anywhere and those that do are usually straight. In a ballroom you can be anything you want. You're not really an executive but you're looking like an executive. You're showing the straight world that I can be an executive if I had the opportunity because can look like one, and that is like a fulfillment."

"When they're undetectable and they can walk out of that ballroom into the sunlight and onto the subway and get home, and still have all their clothes and no blood running off their bodies- those are the femme realness queens... and usually its a category for young queens."

"Now you wanna talk about reading? Let's talk about reading. What is wrong with you, Pedro, are you going through it? You're going through some kind of psychological change in your life? You went back to being a man? Touch this skin, darling, touch this skin honey, touch all of this skin! Okay? You just can't take it! You're just an overgrown orangutan!"

"I don't feel like there's anything mannish about me, except maybe what I might have between me down there, which is my little personal thing, so..."

"And um, he's taking me out for dinner later this evening, or for cocktails after midnight. I know he'll give me some money just for me to maybe buy some shoes and a nice dress, so that the next time he sees me, he'll see me looking more and more beautiful, the way he wants to see me. But I don't have to go to bed with him, or anything like that. At times they do expect sexual favors, but that is between myself and them, so I don't want to talk about that any further. At most times, 99 percent of the time they don't. 95 percent of the time they don't. I feel like, if you're married? A woman, in the suburbs, a regular woman, if you want your husband to buy a washer and dryer set, I'm sure she'd have to go to bed with him, to give him something he wants, to get what she wants. So, in the long run, it all ends up the same way."

"Some of them say that we're sick, we're crazy. And some of them think that we are the most gorgeous, special things on Earth."

"Sweetheart, with the cigarette. You're giving me a banji effect. This is banji."

"You know, the girl you see on the street corner talking about, "Yo man, I saw one of them thangs walking down the street.""

"One who can take her baby brother to school."

"One who can hang out with the roughest and the toughest."

"Octavia St. Laurent: I'm not looking for anything. I think all men are dogs. I honestly do. You know, every man starts barking sooner or later."

"Freddie Pendavis: To describe, explain mopping... Mopping you... go into a store... and... just look... for, look for whatever you want to see, look for whatever... Mopping's stealing."

"Having a ball...wish you were here"

"Dorian Corey — Herself"

"Anji Xtravaganza — Herself"

"Venus Xtravaganza — Herself"

"Paris Dupree — Herself"

"Pepper LaBeija — Herself"

"Octavia St. Laurent - Herself"

"Carmen Xtravaganza - Herself"

"Willi Ninja - Himself"

"Angie Xtravaganza - Herself"

"What happens in Gomorrah, stays in Gomorrah."

"Gay Muslim activists. That is a very rare job description. You guys have big ones."

"You know, Scientologists [sound of audience laughing]. And right, you're like, "Oh, yeah, that's some crazy shit. Okay." Jesus with the virgin birth and the dove and the snake who talked in the garden, that's cool. But the Scientologists, they're the crazy ones."

"There's more than one mosque in the world that used to be a church and before that was a temple. Because it's a lot easier to just change the sign on the top and say "under new management" than it is to change the whole building. I worked a lot of comedy clubs in the eighties that still had the disco ball on the ceiling. And in the nineties they became strip clubs. And now they're a Starbucks."

"Do you think it's possible that when we're on something like marijuana or mushrooms and we believe we're having a really spiritual experience that we're just high?"

"Scientists line up overwhelmingly on one side of this issue. It would have to be an enormous conspiracy going on between scientists of all different disciplines, in all different countries, to have such a consensus."

"It seems that if God wanted to communicate something to the world - he's all powerful - he would just talk to the whole world. It always seems he picks out a prophet in private and tells them, "Ok, you're the prophet. Now you go tell the rest of the world", so we just have to take it on faith."

"The irony of religion is that because of its power to divert man to destructive courses, the world could actually come to an end. The plain fact is, religion must die for mankind to live. The hour is getting very late to be able to indulge having in key decisions made by religious people, by irrationalists, by those who would steer the ship of state not by a compass, but by the equivalent of reading the entrails of a chicken. George Bush prayed a lot about Iraq, but he didn't learn a lot about it."

"Faith means making a virtue out of not thinking. It's nothing to brag about. And those who preach faith, and enable and elevate it are intellectual slaveholders, keeping mankind in a bondage to fantasy and nonsense that has spawned and justified so much lunacy and destruction. Religion is dangerous because it allows human beings who don't have all the answers to think that they do. Most people would think it's wonderful when someone says, "I'm willing, Lord! I'll do whatever you want me to do!" Except that since there are no gods actually talking to us, that void is filled in by people with their own corruptions and limitations and agendas. And anyone who tells you they know, they just know what happens when you die, I promise you, you don't. How can I be so sure? Because I don't know, and you do not possess mental powers that I do not."

"The only appropriate attitude for man to have about the big questions is not the arrogant certitude that is the hallmark of religion, but doubt. Doubt is humble, and that's what man needs to be, considering that human history is just a litany of getting shit dead wrong. This is why rational people, anti-religionists, must end their timidity and come out of the closet and assert themselves. And those who consider themselves only moderately religious really need to look in the mirror and realize that the solace and comfort that religion brings you actually comes at a terrible price."

"If you belonged to a political party or a social club that was tied to as much bigotry, misogyny, homophobia, violence, and sheer ignorance as religion is, you'd resign in protest. To do otherwise is to be an enabler, a mafia wife, for the true devils of extremism that draw their legitimacy from the billions of their fellow travelers."

"If the world does come to an end here, or wherever, or if it limps into the future, decimated by the effects of religion-inspired nuclear terrorism, let's remember what the real problem was. We learned how to precipitate mass death before we got past the neurological disorder of wishing for it. That's it. Grow up or die."

"Father George Coyne, PhD: It's not that the church has the idea that they're gonna train us up in order to go out and baptize those extraterrestrials, before the Mormons get at 'em. The reason is simply historical facts. John Paul II, for instance, said that evolution, in the Neo-Darwinian sense, is no longer a mere hypothesis. I mean, he said that, it's in writing."

"Dr. Andrew Newberg, MD: How we define what is crazy or not crazy about religions is ultimately up to how we define "crazy". If you define mental illness as anyone who hears a voice talking to them, then anyone who has heard the voice of God is crazy."

"Father George Coyne, PhD: The Scriptures are not teaching science. It's very hard for me to accept, not just a literal interpretation of Scripture, but a fundamentalist approach to religious belief. It's kind of a plague. It presents itself as science and it's not."

"Televangelist: I want to be in the green, Lord!"

"Do you smell something burning?"

"Heaven help us."

"Welcome to the great marketplace of ideas: the American university. Here, freedom of expression, honest discussion and academic inquiry reign supreme, and the future leaders of our world meet as equals in a forum of open debate. At least, that was the idea."

"Frequently, double standards on campus come from selective application of speech codes: university regulations used to prohibit speech that, in the rest of society, is clearly protected by the first amendment... Over the years, speech codes have been used to prohibit some rather innocuous behavior. Brown University prohibits speech that might make someone feel "angry, impotent, or disenfranchised." Colby College outlawed anything that could lead to a "loss of self-esteem." Be careful who you turn down for a date! "Suggestive looks" were banned at Bryn Mawr, Haverford College prohibited "unwelcome flirtations," and U-Con [University of Connecticut] banned "inappropriate laughter." And at West Virginia University, students were told not to use the terms 'boyfriend' or 'girlfriend' - the school says those words are too "gender-specific," instead 'lover' and 'partner' are preferred."

"Schools often pay people to run administrative offices that are blatantly political in nature. Take, for instance, the office of Lesbian, Gay, Bisexual and Transgender Awareness at Bucknell University. This office held events and sent campus-wide emails telling students to support gay marriage. Now, whether or not you support gay marriage is beside the point. The question is, should paid university employees be actively encouraging students to adopt their politics?"

"I wish I could have made a film about academia that didn't talk so much about democrats and republicans. But the fact is, academics are obsessed with politics - and in an environment where speech codes can get you kicked out of school or fired from your job, the political leanings of the people who interpret those codes is very much relevant."

"If you can get students persuaded of a couple of basic ideas of the nature of reality, you can go a long way towards succeeding in a social engineering project in which you are engaged."

"Two individuals from the African Studies department composed a statement; by opposing reparations, I was acting in a way that was akin to Hitler, the Nazis, and the Ku Klux Klan. Calling someone who disagrees with you a racist, a Nazi, and a Klansman, simply for calling for intellectual diversity, is engaging in a kind of intellectual and academic thuggery... words like that are not designed to further a conversation or to enhance a debate, they are designed to end the debate; to de-legitimize the speaker."

"People are so exquisitely sensitive and so exquisitely vigilant that they end up condescending to black people when actually the idea was to treat black people as equals."

"Rather than say we're suppressing speech, let's say what we're doing is ending harassment. The problem then becomes, what is the definition of harassment? If a person has their feelings hurt, they will say they've been harassed. If a person feels offended, they will say they've been harassed... They don't want to be known as a harasser, so they go away quietly. It's a very clever way of implementing a speech code."

"The most popular way of distributing publications on campus is to leave them in certain designated publication areas, and every other publication does this. But when the Patriot was left there, we found that the stacks would disappear - within minutes - and we weren't that popular. A lot of the people that go to Berkeley actually might not have believed that conservatives existed there, and they're angry that they do... People don't like what you have to say, and they take it upon themselves to get rid of any information contrary to their views."

"In math, if you get the answer wrong, it's wrong. It's not four, it's five. In sociology, you get the answer wrong, and you're a bad person."

"I really don't know why issues such as globalization and global warming and militarism are brought up in a class on German literature."

"Yeah, there are some classrooms - including, sometimes, mine - in which conservatives might not feel entirely comfortable... in some cases it may involve not knowing if the professor is grading you fairly, and that's the real issue."

"The Africa of the great explorers, the huge land of hunting and adventure adored by entire generations of children, has disappeared forever. To that age-old Africa, swept away and destroyed by the tremendous speed of progress, we have said farewell. The devastation, the slaughter, the massacres which we assisted belong to a new Africa– one which if it emerges from its ruins to be more modern, more rational, more functional, more conscious- will be unrecognizable and Africa will rise again upon the tombs of a few white men, millions of black men, and upon the immense graveyards that were once its game reserves. The endeavour is so modern and recent that there is no room to discuss it at the moral level. The purpose of this film is only to bid farewell to the old Africa that is dying and entrust to history the documentation of its agony."

"They're all ex-something: ex-anti-guerrilla fighters from French Algeria, British Malaysia, Borneo or Kenya, ex-SS officers from Germany, ex-CIA pilots from Cuba, ex-farmers from Kenya, ex-residents of the Sudan, Egypt, Tanganyika, ex-students from South Africa and Southern Rhodesia."

"At the end of the Ice Age, a warm current broke this little colony of penguins off of the glaciers of the south and carried them here on huge rafts of ice that melted in the sun. Isolated and without the possibility of returning to their original homeland, they have for centuries been strangers in a strange land that is becoming more and more heated and hostile toward them surrounded by a sea that grows higher and more and more filled with rage. Perhaps a little peace will descend upon these waters sooner or later, before a wave stronger than the others tears them away forever from this last rock that forms the geographic end of the Dark Continent."

"It was the morning of April 20, 1999, and it was pretty much like any other morning in America. The Farmer did his chores. The milkman made his deliveries. The President bombed another country whose name we couldn't pronounce. Out in Fargo, North Dakota, Cary McWilliams went on his morning walk. Back in Michigan, Mrs Hughes welcomed her students for another day of school. And out in a little town in Colorado, two boys went bowling at 6 in the morning. Yes, it was a typical day in the United States of America."

"This was my first gun. I couldn't wait to go out and shoot up the neighborhood."

"Well, here's my first question. Do you think it's kind of dangerous handing out guns at a bank?"

"What if I had a spear?"

"Suddenly, our children had become little monsters."

"The media, the corporations, the politicians... have all done such a good job of scaring the American public, it's come to the point where they don't need to give any reason at all."

"I left the Heston estate atop Beverly Hills and walked back into the real world. To an America living and breathing in fear. Where gun sales are now at an all record high. And where, in the end, it all comes back to 'Bowling for Columbine'."

"Yes, it was a glorious time to be an American."

"Thank you for not shooting me Nathan Tucker."

""Have you ever been adjudicated mentally defective? Or have you ever been committed to a mental institution?" Well, I've never been committed to a mental institution. What does that mean, have I "ever been adjudicated mentally defective"?"

"Oh, with a crime. Okay, so if I'm just normally mentally defective but not criminal..."

"[Amazed at how Canadians do not lock their front doors (in the day time) after opening them in Toronto] As an American, I gotta say this all seemed kind of strange. Until I looked up at the TV in the bar and noticed what they watched for their evening news. They're friends of ours. We'll certainly listen to them courteously and carefully, but you don't just make war just 'cause someone says so. The Canadians weren't being pumped full of fear. And their politicians seemed to talk kind of funny."

"You don't need no gun control. You know what you need? Bullet control. I think all bullets should cost $5000. You know why? If a bullet cost $5000 there'd be no more innocent bystanders. People would stop and go, "Damn, he musta done something! Shit, they put $50,000 worth of bullets in his ass!""

"And people would think before they killed somebody if a bullet cost $5,000. It'd be like, "Man, I will blow your fuckin' head off...if I could afford it! I'm gonna get another job, start saving some money, and you a dead man! You better hope I can't get no bullets on layaway!""

"If more guns made people safer, then America would be one of the safest countries in the world. It isn't. It's the opposite."

"Are we a nation of gun nuts or are we just nuts?"

"One Nation Under The Gun"

"We're not going to Cuba! We're going to America!"

"So there was actually one place on American soil with free, universal healthcare. [cut to aerial picture of Guantanamo Bay, Cuba] That's all I needed to know."

"[to a British couple in hospital] So how much did you have to pay for the baby?"

"They think in terms of "we", not "me"."

"If this is what can happen between supposed enemies, if one enemy can hold out his hand and offer to heal, then what else is possible? That's when I heard that the man who runs the biggest anti-Michael Moore website was going to have to shut it down. He could no longer afford to keep it up because his wife was ill and he couldn't afford to pay for her health insurance. He was faced with a choice of either keep attacking me or pay for his wife's health. Fortunately, he chose his wife. But something seemed wrong about being forced into such a decision. Why, in a free country, shouldn't he be able to have health insurance and exercise his First Amendment right to run me into the ground? So I wrote him a check for the 12,000 dollars he needed to keep his wife insured and in treatment, and sent it to him anonymously. His wife got better and his website is still going strong."

"In the meantime, I'm going to get the government to do my laundry."

"We got issue in America. Too many good docs are getting out of business. Too many OB/GYNs aren't able to practice their... their love with women all across the country."

"This might hurt a little."

"What seems to be the problem?"

"Get well soon."

"For many Americans, laughter isn't the best medicine - it's the only medicine."

"Well, the million tourists never came to Flint. The Hyatt went bankrupt and was put up for sale, Waterstreet Pavillion saw most of its stores go out of business, and only six months after opening, Autoworld closed due to a lack of visitors. I guess it was like expecting a million people a year to go to New Jersey to Chemicalworld, or a million people going to Valdez, Alaska for Exxonworld. Some people just don't like to celebrate human tragedy while on vacation."

"Well I failed to bring Roger to Flint. As we neared the end of the twentieth century, the rich were richer, the poor, poorer. And people everywhere now had a lot less lint, thanks to the lint rollers made in my hometown. It was truly the dawn of a new era."

"Meanwhile, the more fortunate in Flint were holding their annual Great Gatsby party at the home of one of GM's founding families. To show that they weren't totally insensitive to the plight of others, they hired local people to be human statues at the party."

"Although most people in Flint were now too poor to afford a room at the Hyatt, the hotel allowed the public on opening day to ride the city's only escalator."

"My favorite was the exhibit sponsored by General Motors: a puppet auto worker singing a love song to the robot replacing him on the assembly line. The song was called "Me and My Buddy"."

"These people who buy their kids new school clothes instead of paying the rent need to change their system."

"I can't imagine somebody getting married to someone as poor as you. It gets kind of rough. Put two poor people in the same house... I always tell women "You can be poor by yourself, you don't need any help". And she just got some help, being poor."

"The story of a rebel and his mike."

"None of us knew what we were doing. We'd never made a documentary before. We just opened our lens wide, and tried to capture any stories along our way to Sudan."

"After a treacherous journey we finally arrived in Sudan, on top of the Nuba Mountains, and with it came a shocking 130° degree heat — and right from the start, we could tell, this was not the adventure we had expected. There wasn't much to do."

"Media shapes the way we view our life. What you see in the magazines, what you see on the TV screen, what you see in the movie theatre is what you know about life. So in a sense media is life."

"We are naïve kids, who haven't travelled a lot, and we're going to Sudan."

"There's a lot of social evils going on in this part of the world, and they need attention. ... The message from the children is very clear. The children from northern Uganda, they're asking for one thing, survival — peace. They're asking for peace."

"Nobody joins that fighting force voluntarily, they conscript people into the rebel ranks."

"They are seeking out children, who are going to be the most moldable, and the most easy to — brainwash, essentially — into being a soldier, and in that regard the child of 8 to 14 years is the perfect candidate."

"They started calling young men. "You, come here. You, come here. You, come here." My late brother sat near me. He stood up. He wore a tie, it was spotted. That was the last time we saw him... Enough. I don't want to talk."

"The end result of this was, in the end we know that 531 Palestinian villages were destroyed, 11 towns were destroyed, and more than three quarter of a million Palestinians became refugees."

"I hope God will bring peace to this land, and let the peoples live together — a good life. I hope there will be peace."

"It is good we are still sane. The agony, running Faradiya's slope, and carrying two children, while they were shooting at us."

"They killed each three in a different Location."

"There are some naturally occurring radioactive chemicals here. You will find cesium, barium, radium 226 and 228. You’re going to find that in samples of grading anywhere around here. There’s natural uranium. In fact you have more issues probably with cancer occurrence in this state based on naturally occurring materials than anything documented in health studies. In the shales around here you will find naturally-occurring radium."

"We just didn’t anticipate the fractured flow in the subsurface, which you probably would find with shale anywhere. The fractured flow medium is probably what caused concerns because you didn’t have one path flow that you could map. You can’t model fractured flow medium. No way to know where it’s going to go. But even so with proper containment methods you don’t have an issue."

"They also operated an evaporator building in the 70’s. They pumped the water and evaporated it. Because your air monitoring was at a certain level they built a tall evaporator. It’s just like any other industry. The state knew about it. As long as you blow it up high enough you pass."

"We used to say that if you wanted to increase the elimination rate of tritium, we used to say in class when I was a student, "Drink a few beers and you'll get rid of the tritium even quicker.""

"I just finished a review paper about all the new evidence which is pointed to the idea that Low Level Radiation is not harmful at all and may well be protective against cancer."

"I find that a number of these concentrations in the wells that were tested are quite high. Especially for plutonium 238 and in some cases for tritium. This ground water is not being used for drinking, as I understand. It is not part of a public water supply system. This would however make a case, in my opinion, that the plutonium from the Maxey Flat is leaking into the groundwater in significant amounts and therefore the parts of Maxey Flat where significant amounts of plutonium were dumped should be remediated by removal of much or most of the plutonium, rather than just covering it up."

"Don't worry about that... Christ, where would rock 'n roll be without feedback?"

"It was very heavy back a few years ago. It's not so bad since, but I think some people still think of us as a very drug oriented group. 'Course we're not. You can trust us!"

"I mean, obviously they're all a gang of idiots, but, you know, live and let live. (Regarding his bandmates)"

"It's all extensions of what's coming out of our heads. I mean, you've got to remember you've got to have it inside your head to be able to get it out at all anyway."

"Oh, we have some pretty good arguments from time to time, yes."

"It's like saying, Give a man a Les Paul guitar and he becomes Eric Clapton. And it's not true. Give a man an amplifier and a synthesizer and he doesn't become...whomever, he doesn't become us."

"In the finished article, the only thing that's important is whether it moves you or not. There's nothing else that's important at all."

"When the great economic collapse happens, it's going to happen right across the board. But, I don't think rock and roll will go first. I mean, the market at the moment in rock and roll is expanding a phenomenal rate. People are constantly saying it: "Rock's dying." You know? Every six months someone says it, with enormous conviction! It's not gonna happen!"

"[To camera, with mouth full] Hello, mum!"

"All that media stuff is all very irrelevant. Because people...if people come to a concert and they don't like it, they don't come again."

"It's not that we're trying to shake an image off. But, we're doing other things. 'Cause we want to do other things."

"We share the same sense of humor, to some extent. We lust after money, to some extent. And we've all got a lot of interest in what we're doing together."

"We have a great understanding of eachother, we're very tolerant of eachother. But, a lot of things unsaid as well...I feel."

"We have a very recognizable sound. I mean, anyone who listens to our records will know it's the Floyd. Where as, anyone who listens to many other bands will know they're playing blues, or they're playing this or that."

"David Gilmour - Himself"

"Roger Waters - Himself"

"Nick Mason - Himself"

"Rick Wright - Himself"

"Ben Stein wants you to stop thinking of evolution as an actual science supported by verifiable facts and logical arguments and to start thinking of it as a dogmatic, atheistic ideology akin to Marxism."

"Ben Stein has a new movie out... called Expelled. It is powerful. It is fabulous." "His interviews with some of the professors who espouse Darwinism are literally shocking. [Despite the] condescension and the arrogance these people have, they will readily admit that Darwinism and evolution do not explain how life began." "These people are so threatened by the existence of God, they will not permit intelligent design to be discussed. Professors have been fired, blackballed, and prevented from working who have deigned to try to combine the whole concept of evolution with intelligent design." "[T]he point of it is that these people on the left are just scared to death of God. It threatens everything. We, on the other hand, recognize that our greatness, who we are, our potential, our ambition, our desire, comes from God"

"This propaganda production would make Joseph Goebbels proud."

"Stein puts to Dawkins a simple question, 'How did life begin?' ... Dawkins, however, frankly admits that he has no idea. ... Evolution has no explanation for how life got started in the first place. Darwin was very clear about this.... In order for evolution to take place, there had to be a living cell. The difficulty for atheists is that even this original cell is a work of labrynthine complexity. Franklin Harold writes in The Way of the Cell that even the simplest cells are more ingeniously complicated than man's most elaborate inventions...."

"Big science has expelled smart new ideas from the classroom...What they forgot is that every generation has its Rebel!"

"How does Wikipedia get at the truth?"

"We tried to get people offering compelling arguments for either side of any particular topic because our intention was to be objective and to let the viewer make up his or her own mind about the merits or consequences of Wikipedia."

"Then change it."

"The film is out of date and should have been released three or four years ago. ... [it consists of] too many talking heads, and it does not show the community aspect of Wikipedia."

"Not too bad, from what I saw."

"In general, I like the film a lot more after seeing it for the second time, in a very different audience (and seeing their live reactions)."

"The film gives a lot of focus to some shallow or misleading lines of criticism, and on an intellectual level, it comes off as largely anti-Wikipedia, contrasting the reasonable-sounding arguments of mature critics with the naive optimism of youthful Wikipedians."

"This is a must see film, a premiere film. You gotta watch it to remain socially relevant!"

"The film raises interesting questions about authority, only somewhat intentionally."

"This is definitely a solid film. ... This film is definitely worth a viewing. It’s interesting, well made, and presents varied perspectives on Wikipedia that help the narrative stay interesting."

"Ladies and gentleman, by way of introduction, this is a film about trickery and fraud, about lies. Tell it by the fireside or in a marketplace or in a movie, almost any story is almost certainly some kind of lie. But not this time. No, this is a promise. During the next hour, everything you'll hear from us is really true and based on solid facts."

"Our works in stone, in paint, in print, are spared, some of them, for a few decades or a millennium or two, but everything must finally fall in war, or wear away into the ultimate and universal ash - the triumphs, and the frauds, the treasures and the fakes. A fact of life: we're going to die. "Be of good heart," cry the dead artists out of the living past. "Our songs will all be silenced, but what of it? Go on singing." Maybe a man's name doesn't matter all that much."

"I started at the top and have been working my way down ever since."

"Paris was suffering from August. This happens every year. It shuts down, closes up, and this is the time when an invader could take the country by telephone... if he could get somebody to answer it."

"For my next experiment ladies and gentleman, I would appreciate the loan of any small personal object form your pocket. A key, box of matches, a coin - ah, key it is, good sir. Hold it up 10 feet over your head and watch out for the slightest hint of hanky panky... and behold before our very eyes a transformation! We've changed your key into... a coin. What happened to the key? It's been returned to you. Look closely, sir, you'll find the key back in your pocket. May we see it please? What's that, sir? Did I used to be a magician, sir? I'm still working on it. As for the key, it was not symbolic of anything... this isn't that kind of movie. You'll find the coin in your pocket now, sir. Keep your eyes on that coin sir, while it's returned to you... as your key. Should we return you to your mother? Is this your mother? No, of course not. Open your mouth wide... and we'll return you your money. And by the way, have you ever heard of Robert Houdin, speaking of magicians, I mean. Oh no, of course not. But of course, you do know my partner François Reichenbach. Houdin was the greatest magician who ever lived. And do you know what he said? "A magician, he said, is just an actor - just an actor playing the part of a magician.""

"What we professional liars hope to serve is truth. I'm afraid the pompous word for that is "art"."

"[quoting a phenomenal art forger] Do you think I should confess? To what? Committing masterpieces?"

"At the very beginning, I - of all this, I did make you a promise. Remember? I did promise that for one hour, I'd tell you only the truth. That hour, ladies and gentlemen, is over. For the past 17 minutes, I've been lying my head off. The truth, and please forgive us for it, is that we've been forging an art story..."

"Art, [Picasso] said, is a lie — a lie that makes us realize the truth. To the memory of that great man who will never cease to exist, I offer my apologies and wish you all, true and false, a very pleasant good evening"

"Orson Welles – Himself"

"Oja Kodar – The Girl"

"Joseph Cotten – Special Participant"

"François Reichenbach – Special Participant"

"Paul Stewart – Special Participant"

"Gary Graver – Special Participant"

"Andrés Vicente Gómez – Special Participant"

"Everything's bigger in America. We've got the biggest cars, the biggest houses, the biggest companies, the biggest food, and finally: the biggest people. America has now become the fattest nation in the world. Congratulations! Nearly 100 million Americans today are either overweight or obese. That's more than 60% of all US adults. Since 1980, the the total number of overweight and obese Americans has doubled. The fattest state in America: Mississippi, where one in four people are obese. Obesity is now second only to smoking as a cause of preventable death in America, with an estimated 400,000 deaths from related illnesses."

"Companies spend billions to make sure that you know their product. In 2001, on direct media advertising, that's radio, television and print, MċDoṇạld's spent 1.4 Billion dollars worldwide. On direct media advertising, Pepsị spent more than a billion dollars. To advertise candy, Hershey foods spent a mere 200 million dollars internationally. In its peak year the Five-a-Day Vegetable Campaigns total advertising budget in all media was a lowly 2 million dollars, 100 times less than just the direct media budget of one candy company."

"This is the best part of the day, when I get to be fat, on the bed, with my quart of Coke."

"My body... officially hates me."

"[while consuming a super-sized double quarter-pounder with cheese meal] Now's the time of the meal when you start getting the McStomachache. You start getting the McTummy. You get the McGurgles in there. You get the McBrick, then you get the McStomachache. Right now I've got some McGas that's rockin'. My arms... I feel like I've got some McSweats goin'. My arms got the McTwitches going in here from all the sugar that's going in my body right now. I'm feeling a little McCrazy."

"In the lawsuit against them, McDonald's stated that it is a matter of common knowledge that any processing its foods undertake serve to make them more unhealthier than unprocessed foods. Case in Point: MċṆuggets. Originally created from chickens too old to lay eggs, McNuggets are now created from chickens with unusually large breasts. They are stripped to the bone, and ground up into a sort of chicken mash, which is then combined with all sorts of additives and preservatives, pressed into familiar shapes, breaded and deep-fryed, freeze-dried, and then shipped to a McDonald's near you. Judge Robert Sweet called them a McFrankenstein creation of various ingredients not utilized by the home cook."

"After six months of deliberation, Judge Robert Sweet dismissed the lawsuit against McDonald's. The big reason? The two girls failed to show that eating McDonald's food was what caused their injuries. Interesting, in only thirty days of eating nothing but McDonald's I gained twenty-four and a half pounds, my liver turned to fat and my cholesterol shot up sixty-five points. My body fat percentage went from eleven to eighteen percent, still below the national average of twenty-two percent for men and thirty percent for women. I nearly doubled my risk of ċoroṇạry heạrt dịseạse, making myself twice as likely to have heart failure. I felt depressed and exhausted most of the time, my mood swung on a dime and my sex life was non existent. I craved this food more and more when I ate it, and got massive headaches when I didn't. In my final blood test many of my body functions showed signs of improvement, but the doctors were less than optimistic."

"[voiceover] Still, the impact of this lawsuit is being seen far and wide. School districts in Ṇew York, Teẋạs, and Sạṇ Ḟrạṇċịsċo have banned sugary soft drinks in schools. And all-natural healthy options are popping up everywhere. McDonald's joined right in, sponsoring events that showed how health-conscious they've become, and creating a new line of premium salads. At the same time, however, they also masterminded one of their fattest sandwiches to date: the McGriddle. A pancake-wrapped creation that won my heart in Texas, but can pack as much fat as a Big Mac, and have more sugar than a pack of McDonaldland cookies. In fact, their new premium ranch chicken salad with dressing delivers more calories than ạ Bịg Mạċ and 51 grams of fat, 79% of your daily fat intake. Over the course of my McDiet, I consumed 30 pounds of sugar from their food. That's a pound a day. On top of that, I also took in 12 pounds of fat. Now, I know what you're saying. You're saying nobody's supposed to eat this food three times a day. No wonder all this stuff happened to you. But the scary part is: there are people who eat this food regularly. Some people even eat it every day. So, while my experiment may have been a little extreme, it's not that crazy. But here is a crazy idea: Why not do away with your Super Size options? Who needs 42 ounces of Coke? A half pound of fries? And why not give me a choice besides french fries or french fries? That would be a great start. But why should these companies want to change? Their loyalty isn't to you, it's to the stockholders. The bottom line: They're a business, no matter what they say. And by selling you unhealthy food, they make millions. And no company wants to stop doing that. If this ever-growing paradigm is going to shift, it's up to you. But if you decide to keep living this way, go ahead. Over time, you may find yourself getting as sick as I did. And you may wind up here emergency room or here cemetery. I guess the big question is, who do you want to see go first? You? Or them?"

"[after being again rebuffed for an interview with McDonald's public relations officials, and while holding a Ronald McDonald doll] You'll not talk to anyone and you'll like it that way."

"[on the 21st day, Morgan wakes up to serious symptoms] It's, um, it's like, 2:00 in the morning on February 21st. I, uh, woke up, couldn't breathe. I'm having really difficulty breathing. I'm very hot, and, felt like I was having heart palpitations. Came up and walked around the living room. I was trying to get my breath back. and, uh ...I want to finish, but I don't want anything real bad to happen, either."

"[referring to McDonald's claim that a vast majority of nutrition professionals say their food can be a part of a healthy diet] We called 100 nutritionists all over America. And the results were not on track with the vast majority McDonald's talked about. Only two out of the 100 said you should eat fast food two times a week or more. Twenty-eight said once a week to once or twice a month. And 45 said you should never eat it."

"[deleted scene] Another disturbing fact: Over the course of the 30 days, I generated more than 13 bags of garbage. Multiply my daily amount by 46 million - the amount of people they feed each day - and you get enough garbage to fill the Empire State Building... every single day... and that's only 1 fast food chain... in one day."

"In fact, there are only 7 items on the McDonald's menu that contain no sugar whatsoever: French fries, Chicken McNuggets, bash browns, sausage, Diet Coke, coffee, and iced tea. Everything else - even the salads - contain sugar."

"This is gonna be you like, after every meal."

"It's hard for me to watch go through this. I got to tell you, I worry about his health. He's exhausted by the end of the day, just so tired. He gets home really late from work and he gets all jacked up on sugar and caffeine, and then he crashes. And then, when we two have sex, I got to tell you, he's not quite as energetic as he used to be. [laughs] I have to be on top. Otherwise, He, uh...he gets tired easily. I think the saturated fats are starting to impede the blood flow to his penis. And he's having a hard time, you know, getting it up. He does, totally. It's still good, but it's definitely a big difference. There's definitely a difference. I can tell."

"I've got Morgan's detox diet all ready to go. The biggest thing is taking the crap out and putting good stuff in. I'm really focusing on nutrient-dense food. Organic, seasonal, fresh food, making sure that I'm getting as many cleansing vegetables into his diet as possible."

"A film of epic portions."

"The first ever reality-based movie ... everything begins and ends in 30 days!"

"Morgan Spurlock - Himself"

"You know what my daddy used to say? What he used to say, 'get too old to cut the mustard, lick the jar.' [laughs] I don't know what he meant by that."

"I'm 84 years old today. And the computers and the drugs is going to take the world over."

"I ain't gonna snort no pills. Or am I?"

"My name is Mamie White and I'm the biggest and the meanest and the baddest of all the White family."

"So now everybody knows all about Mamie White and Jesco White, now by God it's time you learn about the rest of us fuckin' Whites."

"And there's never another 'nother mother in the world could fill my mother's shoes."

"I chopped a son-of-a-bitch up and threw him in a goddamn mine shaft, up here in the garbage bag. I got three mine shafts up this holler."

"I just now bought ten goddamned green beans—what'cha call 'pain killers,' okay? Fuck 'at camera—and I got 'em for eight dollars a piece and I'm gettin' ready to take 'em up the road, and I'm gon' sell 'em for ten dollars a piece and make me two more dollars on each pill. That's called 'hustle, rustle, 'n bustle.' That's how you survive in the country."

"It's a party, man. A party.""

"Aw, he's going into shock. [points at crying child]"

"We ain't got no pot. It's just a roach-o I lit."

"Jesco, he started sniffing that gas and lighter fluid and we couldn't do nothin' with him."

"If Jesco White ain't high on drugs...if he ain't high on alcohol...you can't stand to be 'round him."

"I know you ain't snortin' no pills. That's not snortin' no pills, Maw."

"It paralyzed her right arm, and her side of her right face."

"After tonight, you might not see Mamie again. Then again, you might."

"I don't give a fuck to go to jail, and I don't care to kill some son-of-a-bitch...anybody that looks at me wrong."

"I'm hurtin'. Really, in my heart, I am hurtin'. I'm losin' my mom, and that's all the fuck I got."

"C'mon. I'll take you and cheer you up. You won't have to worry about this shit."

"I need a Corona. I gotta get the fuck outta here. My nerves is tore up."

"Now, you see all three of us girls...The biggest, the meanest, and baddest. There you go. Now, you see us now...we look pretty goddamn good, but when we leave this bar we're gonna come in like this [stumbles down the corridor]. Who's gonna fuckin' pack Mamie in?"

"We also raised hogs to get our meat. Any piece of hog you can meat. I'm talkin' 'bout from its fuckin' head to its asshole."

"...he was just a disciplined father. And then we all turned out to be fuckin' crinimals [sic]."

"I always carried a pool stick...Always drank a beer in a bottle. I can always break the bottle and shove the neck in your fucking heart... or I can always back you up and get you the fuck out of my face."

"Hell yeah!"

"Well, you know what...he knows how to beep-beep."

"I get a goddamned check from the government saying that I'm fuckin' certified crazy."

"You know we're all gonna die, and we're gonna have to be risen and judged. You go this-a-way and you go this-a-way...if you don't live for the Lord then you're gonna go that way to hell."

"If you don't wanna serve Him, then, when you die, you're gonna have to pay your consequences like me. I'm gonna burn like the rest, I guess. We all going to hell."

"[responding to the question, 'At your funeral, what do you want people to do]: Party their balls off. Blow pot in my face and snort pills on my head, and...fuckin' rock and roll, baby!"

"Come into this world with nothin', I guess I'll die with nothin'. But at least the world knows who the fuck we are."

"Oh, fuck it."

"It's just strange how everything it happened in our family. It seems like our lives have just been a party and we just live like it's a story."

"I took the butcher knife and put it up to her neck. I said if you wanna live to see tomorrow, you better start fryin' them eggs a lil' bit better than what you're fryin' em. I'm tired of eatin' sloppy, slimy eggs."

"And this used to be a grocery store. That's the one I robbed when I went to formin' school when I was younger—on the right side of the road where the church is—and I also robbed it two times and got away."

"That's right. That's the mark of the beast. Jesus sent Moses to tell 'em. Then when the great flood came, that's the reason he shut the door. Him and the animals. And they couldn't get in. They drownded."

"This is the greatest birthday party that you'll remember and cherish forever, from our hearts, Maw, to you. This is from our heart to you. For all the love you've give us over the years."

"We're gonna give you some pickin' and clickin'."

"I like to get really fucked up, you know? Ripped plumb outta the frame, but I can still control myself. I just like to dance and have a good time, till somebody fucks with me the wrong way, then I'm all to pieces. You know, I can't control it then."

"It's like the dead killing the dead. [laughs]"

"Turn me on, turn me loose."

"Well, I've got brain damage on the side of my brain, and I don't know which side, left or right, where I huffed gasoline for ten long years."

"It'd ate a hole out my brain, and the doctor told my wife when they'd come to get me out of the hospital, mental institution... He said, "I'ma tell ya, his brain cell is eat up like a pile of cigarette ashes," but I don't know which cell it is in my head."

"I'll make it — All I can say is this cat's a hustler."

"They tried to charge me with accessory and I told him, I said, 'just go ahead and send my ass to jail 'cause I'm not a snitch.' I wouldn't snitch nobody out."

"I've been in trouble many times. Fightin', cussin' out the cop, drug charges. I've been so many times I can't count."

"Now like if you started some shit with me, it would be, I'd like, I'd fight you."

"I love to fight."

"Uh-uh, I think six cans of pop is too much. It's hyping you up."

"I'll just run up into traffic and they can just kill me!"

"When I met Dennis, I liked him 'cause he looked good. Feel me? And, you know, he had it going on; he had a job. And I love 18-wheelers, and he drove an 18-wheeler. And then he ends up screwing my cousin, and then I ends up stabbing his ass. But the night I stabbed him, it was cool, because my grandmaw—y'all know Maw Maw—she cleaned up the blood and hid the knife so there was no evidence, so they couldn't take me to jail."

"I meant to slit his throat, and that's for real. I meant to kill that motherfucker."

"I want Dennis to see it 'cause I hate that motherfucker. I mean, I'm a people person and I can get along with the Devil, but I hate that son-of-a-bitch. I hate him."

"Now I gotta share my medicine [uses prescription bottle to crush pill on hospital nightstand]."

"My favorite verse is Matthew 21:22. And when everything's--you're asking a prayer about believing, you will receive. But you've got to believe it."

"I believe God is saying...'get your shit together.'"

"I like to fight and I'm a hell of a fighter. I'm not going to give up. I don't give up that easy!"

"I have to admit, if there's a pill laid out there, I'm gonna do it...'cause I know I only got 48 hours to do it in."

"Can I say one thing? Fuck you, Dennis."

"I had to pee."

"Boone County's my downfall. I love it, but if I'm here too long...it just...it's like it's my hole, and it sucks me in...and fucks me up."

"[talking on the phone] Huh? What's PCP? No I've never done Angel Dust."

"Tell'em that bastard hit you!"

"If I had a knife I'd slit his damn throat open...or his nuts."

"I hate Dennis. He's this [shoots birds]. Dennis is this."

"I hate rehab."

"Take me to Dennis so I can blow his head off."

"My name is Sue Ann White. I'm the baby girl of Donald Ray and Bertie Mae White. My nickname is Sue Bob. Everybody, I prefer to be called 'Sue Bob,' that's a nickname I have."

"Well, I used to be a stripper back then when I was 17, 18, 19 years old, and I made the beacoups of money. I'd brang home 'least fifteen to two thousand dollars a night in my boot."

"I've always been the sexiest one in the family. I've always had comments from thousands of people."

"Well, when my father passed away everyone just went wild."

"She's not lookin'. Renee! [honks horn] Hey. Hey Tanner! They took her baby [points at Kirk]. She had her baby. CPS took it. She's cryin'...her."

"You gotta kill the cow to get that beef or what, buddy? Shit."

"Don't give me that look, you bitch. I'll smack that frown off your face."

"Y'all have any mozzarella cheesesticks?"

"I used to be wilder than a buck. I used to try a little coke here and there. I've smoked a little crack, you know what I mean. I've tried this and that. My favorite buzz—choice of buzz—is marijuana. I love marijuana; i'm a pothead."

"One took a bar about that long [indicates length] and 'bout as big around as a quarter and hit the old man. He was in a wheelchair with one leg."

"It'll all work out. Everything always does."

"She'll do anything and everything and all she can before she goes outta here...especially pills and stuff."

"I'll tell ya straight up what I like. I prefer a Oxycotton, uh a Lorcet, a Norco, a Vicodin ES, a Percocet 10, a Xanax—especially a Xanny bar."

"You wanna hear the Boone County mating call? [Shakes bottle of prescription medication] Come and get it baby."

"I had to hit it again just to watch the blood fly, 'cause it turned me on."

"Billy called up here and he said, 'I'll bury you beside your cold, dead daddy, you motherfucker.'"

"15 minutes later, Billy Hastings was laying up there puttin' his face back together. So you tell me who got the better end of that deal."

"Let me show you my no-good, son-of-a-bitchin' husband. His name's Charles; he's a bastard and a cheater."

"My ass don't stink."

"I got a lot of things I gotta do this week...contact my husband Charles, discuss our divorce."

"Well, we're in Lincoln County on Bodger Road, going to pick up Charlie Green, which could be my husband...which is my husband."

"You don't tell me what to do, bitch!"

"I'm not playing with you two fuckin' retards."

"You're stuck with ol' Mousie tonight. Mousie's gettin' dick tonight."

"Come on. We're gettin' ready to take you in the store that we got married in."

"The pharmacist was a preacher...a pastor, or whatever, and they took us over to the flower department and married us."

"He thinks he's going home when he gets back to Boone County, but I got news for him, he's not. I'm holding him hostage."

"No parole. No shit!"

"I don't need no rehab. Jail was my rehab and now it's time to paaaarty!"

"I ended up shooting at the cops from November 21 to the 22nd, at 4:30 that morning when they apprehended me. It was one hell of a night. I just went on a rampage pretty much."

"It just happened."

"They say they forgive me, but, you know. I shot dude in the face. And then again, I've been around 'em all my life, so I'm sure they still got love for me, but you know, I terrorized them, pretty much, and I'm sure they hate me for that."

"My judge likes me. We get along good. I think something's good gonna happen. I think I'm gonna home on an alternative sentence."

"Boo Boo Judy! Call the law!"

"Fuck Boone County! And fuck the goddamn law!"

"They just wanna fuss, fight, and party."

"What you gonna do, Brandon? Shoot me?"

"A Portrait of America's Last Outlaw Family"

"Guns, Pills, Violence......and Tapdancing"

"Bertie Mae White — Bertie Mae"

"Jesco White — Jesco"

"Mamie White — Mamie"

"Sue Ann White — Sue Bob"

"Tanya Faye White — Mousie"

"Billy Hastings — Billy Hastings"

"Brandon Poe White — Brandon Poe"

"Bernadine Cook — Bo "Bocephus""

"Susan Rae "Kirk" White — Kirk"

"Tylor White — Tylor"

"Derek Wayne Castle — Derek "Derky""

"Poney White — Poney"

"Virginia White — Virginia"

"Jerry White — Jerry"

"Les White - Les"

"Charles Green - Bastard and Cheater"

"Randall White (no relation to the family) - Sheriff's Dept Randall White"

"Annie Mae White - Annie Mae"

"Chris Messner - Chris"

"Shelton Hank Williams III - Hank III"

"Cheyenne Green - Cheyenne"

"They are kind of the rude boys of hacktivism. There's a rude rough edge to them, which I think also is one reason why they garner so much love and hate from people too. They represent a certain sort of chaotic freedom."

"The hacker ethos has a passion for truth. It wants what's real to be out there. And it uses kind of a Philip K. Dick definition of reality: Reality is that when you stop believing in it, refuses to go away."

"We stand for freedom. We stand for . The . The ability of them to protest against their government. To right wrongs. No censorship, especially online, but also in real life."

"We have members throughout society, at all stratas of it, worldwide. Yet we have no leadership."

"It's one voice, it's not individual voices, that's why we don't show our faces, that's why we don't give our names. We're speaking as one, and it's a collective."

"You want to see Anonymous rise up - try to shut down the message. Try to squash the message. Try to chill our speech. Then you'll see what Anonymous can do."

"It's my community. It's my culture. I identify with Anonymous."

"I was kind of mesmerized by what was going on. This is an attempt to define that culture."

"We have studied closely but are in no way affiliated with Anonymous."

"Writer-director Brian Knappenberger takes an inside look at Anonymous, the collective of 'hacktivists' who take civil disobedience to the Internet."

"An intimate look inside the world of Anonymous, the radical 'hacktivist' collective that has redefined civil disobedience for the digital age."

"We Are Legion might be the first to portray the group’s members as true revolutionaries, and it could serve as a time capsule if the kind of online sit-ins and retaliatory strikes that Anonymous has helped create become the new model for civil disobedience across the globe."

"Anonymous, the collective of skilled hackers, has put fear into the hearts of businesses and governments across the globe. Documentary filmmaker Brian Knappenberger delves into the history of other "hacktivists" and draws a line to the loose-knit community of folks fomenting civil disobedience through technological resources. The film includes interviews with current members of Anonymous, writers and academics."

"Knappenberger's film chronicles the rise of Anonymous from a disparate group hanging out in the forums of notorious website 4chan to the day recently when members of the Polish parliament, in protest of a vote they said would restrict Web freedom, donned their own Guy Fawkes masks in solidarity with the group."

"Essential viewing for those frustrated by the media's seeming inability to digest one of our moment's most important stories, We Are Legion offers an impressive introduction to an amorphous movement that is alternatingly demonized, caricatured and misunderstood by outsiders. Colorful and substantive enough to sustain a theatrical run, it will likely stand for some time as an excellent point of entry for the non-hacker public."

"Brian Knappenberger’s film about tech-savvy activist organizations like Anonymous, WikiLeaks, and LulzSec is a nimble, multi-faceted look at the formation of leaderless global protest movements in the last decade or so."

"We Are Legion has almost impossibly high production values. This is a documentary, but it is a documentary for the children of the Internet era. It has narrative and plot structure; it has aesthetics; it has design and artistic value."

"This bombing went on for five years. The Supreme Court never passed any judgment on it and the military speaks with pride today that five years of the bombing of Cambodia killed 16,000 of the so-called enemy. That's 25% killed, and there's a military ruling that says you cannot kill more than 10% of the enemy without causing irreversible, psychological damage. So, five years of bombing, a diet of bark, bugs, lizards and leaves up in the Cambodian jungles, uh, an education in Paris environs in a strict Maoist doctrine with a touch of Rousseau, and other things that we will probably never know about in our lifetime -- including, perhaps, an invisible cloud of evil that circles the Earth and lands at random in places like Iran, Beirut, Germany, Cambodia, America -- set the Khymer Rouge out to carry out the worst auto-homeo genocide in modern history."

"What a fantastic land it was, how it was Shangri-La before it was colonized... Thailand was a Nordic country compared to Cambodia, and they're right next to each other. And he said 90% of the land was owned by the people; it was earth, it was dirt, but it was THEIRS, and it was good. And-and they knew how to have a good time. They knew how to have a good time. They knew how to have a good time getting born, a good time growing up, a good time going through puberty, a good time falling in love, a good time staying in love, a good time getting married, a good time staying married, a good time having children, a good time raising children, a good time growing old, a good time dying... they even knew how to have a good time on NEW YEAR'S EVE! I couldn't believe it!"

"[as "Jack Daniels"] Waterproof, man? Waterproof? You ask why waterproof? I'll tell you why waterproof! When my ship sinks, in an ocean, any ocean, anywhere, I'm still chained down there in that waterproof chamber. I press that green button, it activates that rocket, it goes up out of its waterproof silo, up, up, up, UP! I get a fucking erection, man, every time I think about firing a rocket at those Russians! We're gonna win! We're gonna win! We're gonna WIN this fucking war! Boy, I like the Navy, man. I get to travel everywhere. I've been to India, been to Africa, been to Sweden. I fucking didn't like Africa, man. I don't know why. Black women just don't turn me on."

"[as "Jack Daniels"] The Russians are stupid people, they're backwards. You know on their ships, they don't even have electrical intercoms? They still speak through tubes? [as himself] Suddenly, I had this enormous fondness for the Russian navy, for all of Mother Russia. The thought of these men like innocent children speaking through empty toilet paper rolls, empty paper towel rolls, where you can still hear doubt, confusion, brotherly love, ambivalence, all those human tones, coming through the tube."

"I can't even look at a weather map anymore! It's too big! That's why I moved to Manhattan - I wanted to move to an island OFF THE COAST of America!"

"[On dealing with the annoying upstairs neighbor] Renee is not practicing Buddhist tolerance. She's walking up and down... she's got STEAM screaming out of her navel. And there are people say we should start a collection to hire a vigilante to off this woman, to kill her, and I find I'm not saying "no"? That's how New York has changed me? I'm willing to put money into the pot? Renee? Renee's father was in the Jewish Mafia. She knows the language. She grew up in the streets of New York. She calls her up and goes, "BET YA WANNA DIE, RIGHT, BITCH? CUNT, I'LL BEAT YOUR FUCKING FACE IN WITH A BASEBALL BAT! BITCH! CUNT! DIE! DIE! DIE!" [he slams the "phone" down hard] Music goes louder. Renee figures the woman's a masochist and is getting off on the language."

"Then out comes the banana! And she takes a few lame shots like the Russian rockets that are going to sputter and pop and land in our cornfields. And for the finale she aims her vagina down the main isle like a great cannon, loads it with a very ripe banana and thoomp fires it! Almost hits me in the eye, almost hits an Australian housewife in the head, hits the back wall and sticks! And slowly it inches its way down until it, pomp, lands... and is devoured instantly by an army of giant roaches."

"[as Athol Fugard] Spalding! The sea's a lovely lady when you play in her. But if you play with her, she's a BITCH! Play in the sea, yes, but never play with her. You're lucky to be here! You're lucky to be ALIVE!"

"So I did it. I got in the car for the final ride to the airport. And as I was riding, I felt like I was going to the gallows. I couldn't believe it. Why was I doing this? Why did I feel, mainly, why did I feel so inflated. I'd been there eight weeks, I'd worked eight days. Was waiting that difficult? I felt all puffed up, but on the way, I felt, my God, I will never see a little piece of heaven like this again. This is the end. And as I was riding, I said a silent benediction, a silent farewell to all that I had had and would miss. Farewell, to the fantastic breakfasts, free every morning. You walked down and there they are waiting on you with the papaya, mango, and pineapple like I'd never tasted before. Farewell, to the Thai maids with the king-sized cotton sheets and the big king-sized beds. Farewell, to the lunches. Fresh meat flown in from America, daily. Roast potatoes, green beans and roast lamb, at 110 degrees under a circus tent, according to British Equity. Farewell to the drivers with the tinted glasses and the Mercedes with the tinted windows. Farewell to the cakes, and teas and ices every day exactly at four o'clock. Farewell to those beautiful smiling people. Farewell to that single, fresh rose in a vase on my bureau in the hotel every day. And just as I was climbing into that first-class seat, and wrapping myself in a blanket, just as I was adjusting the pillow from behind my head, and having a sip of that champagne, and just as I was adjusting and bringing down my Thai purple sleep mask, I had an inkling, I had a flash. I suddenly thought I knew what it was that had killed Marilyn Monroe."

""The rail is so low, a 7-year-old can climb over it." — director Eric Steel."

""And this woman, she came up to me, and she said, in a German accent… "Will you take my picture?" I was like, "Your picture? Woman, I'm going to kill myself… Can't you see the tears pouring down of my face?" — Jumper Kevin Hines, who survived the jump in 2000."

""I'll never be able to sort of drive across bridge again without...some kind of...emotional reaction. Something else I'm pissed off at him about. Such a great bridge." — Gordon Smith, roomate of David Paige, who jumped April 28, 2004."

""Why he chose the Bridge? I don't know… Maybe he just wanted to fly one time." — Caroline Pressley, friend of Gene Sprague, whose suicide is shown last in the film."

""He walked across the bridge from the south to the north side and then from north to south, which are typically tourists. I did not think the bridge jump, but it must have something about him that caught my attention." — director Eric Steel of Gene Sprague."

"If you can't say fuck, you can't say fuck the government."

"[Fuck] sounds exactly like what it is."

"It's one of those all-purpose words."

"It's the ultimate bad word."

"The f-word is special. Everybody uses the word breakfast, but not everyone feels comfortable using the word fuck so there's an extra power behind it."

"You could think of that [word] as standing in for most of the changes that happened in the 20th century, at least many of the important ones."

"Ultimately, Fuck is a movie about free speech. ... Freedom of expression must extend to words that offend. Love it or hate it, fuck is here to stay."

"An interesting debate about censorship."

"F*ck manages to strip some of the mystique from the forbidden word, and in the end, despite some road bumps, is a satisfying f*lm."

"The most important film using fuck."

"At the forefront of the discussion is the question of freedom of speech."

"Fuck provides a highly provocative and humorous overview of a word that, love it or hate it, undoubtedly holds more power than its measly four letters might suggest."

"All in all, I’d have to say that this film was entertaining as fuck."

"For something rather different there’s F*ck, a moderately amusing documentary about the second most offensive word in the English language."

"All told, Anderson's film is surprisingly amusing, as well as insightful, even if viewers have to sit through about 800 uses of the word in the 90-minute film. (And that's a cinematic record.)"

"The documentary offers an effervescent blend of cultural history and political opinion."

"Can you support the First Amendment, and be appalled at the often-ridiculous fines levied by the FCC for a single broadcast F-bomb, and still be weary of this word's ubiquity? Anderson's movie doesn't say, but many know the answer."

"Anderson's glib approach is to the movie's advantage, allowing anything profound to seem unexpected."

"Unlike Kirby Dick's scatterbrained This Film Is Not Yet Rated, Steve Anderson's similar state-of-obscenity documentary Fuck gives both sides of the decency argument a fair hearing."

"A thesis-level course in the history, derivation and proper use of every sailor's favorite cuss, the movie has to wage a constant battle against potty-mouthed monotony. Fortunately, it emerges largely unscathed, and almost triumphant in its own single-minded way."

"Mr. Anderson’s movie is staged as a talking-head culture-war skirmish between embattled upholders of propriety (or repression, if you prefer) and proponents of free expression (or filth), but its real lesson is that the two sides depend upon each other. Or rather, that the continued vitality of the word — its unique ability to convey emphasis, relieve stress, shock grown-ups and function as adverb, noun, verb, intensifier and what linguists call 'infix' — rests on its ability to mark an edge between the permissible and the profane."

"We are all shaped by our pasts. And we carry elements of the past into the future. But nothing can threaten the future quite as much as the debts of the past."

"When I was a kid, I would sit on the floor of my house in Mumbai and I would read about the great nations, the great empires. The Roman Empire, the Ottoman Empire, the British Empire... they all came and they all went. But I always thought there was one exception to that rule, and that's the United States of America, which is a different kind of empire, if it's an empire at all. It's an empire of ideals."

"Obama himself gives us a big clue in the title of his autobiography. Notice it says "Dreams from My Father", not "Dreams of My Father"."

"[Obama] resolves not to be like his father, but to take his dream. Where the father failed, he will succeed. In doing so, perhaps he can become worthy of his father's love, the love he never got."

"[Obama] is then chosen as the fulfillment of the Civil Rights Movement. This insecure kid who grew up in Hawaii and Indonesia, whose life is shaped by his father's ghost, and whose ideology could not be more directly remote from what Americans believe or care about, is now the President of the United States."

"Only through the dreams of Obama's father can we understand the actions of the son."

"The world could be a pretty scary place in 2016... Israel brought to its knees, the Muslim world united. But America would still be a rich country. How does Obama change that? How does he restore the world before colonialism? Actually, there is a way, and it's a beautiful way. I call it "debt as a weapon of mass destruction.""

"The first time, we did not know what change would look like. Now we do. The first time, we did not know Barack Obama. Now we do. Which dream will we carry into 2016? The American dream or Obama's dream? The future is not in my hands. It's not even in Obama's hands. The future is in your hands."

"Imagine the unimaginable... What would the world look like if America did not exist?"

"america has a problem"

"I love America. I chose this country. And like millions of immigrants, I've been blessed by my life in America. This country does something truly unique. It allows you to write the script of your own life."

"These are the indictments against America: We stole the country from the Native Americans. We took half of Mexico in the Mexican War. We stole the labor of the African Americans. And today our foreign policy and our free market system are forms of theft. These indictments developed separately and each has been around for a long time. But now they've come together in a single narrative of American shame. [...] Are our lives, innocent on the surface, part of a ruthless engine of looting, exploitation and murder? It's a powerful critique. We can't just dismiss it with chants of liberty, freedom, rah, rah, rah. The critics are raising the primary question of justice. Read the Declaration of Independence. It's a cry against injustice. For the American Founders, liberty was the solution to that injustice. This is not just an attack on the 1%. It's an attack on all of us. We are a nation of immigrants and settlers. And we are the ones accused of these crimes. [...] If our wealth is stolen, then we must give it back. So, is America guilty as charged? It depends on whether the story of American shame is true or not."

"Most countries are founded in conquest. Europe, conquest, conquest and more conquest. Look at Britain. Before becoming an empire, it was conquered by the Norman kings of France and earlier by the Romans. Before the British came, India was invaded by the Persians, the Mongols, the Afghans, the Arabs and Alexander the Great. Conquest was how wealth was acquired. Not through entrepreneurship, invention or business. Historically, every culture has despised entrepreneurs and merchants. In India, we have the caste system. Who's at the top? The Brahmin or priest. The entrepreneur is one step from the bottom. The Islamic historian Ibn Khaldūn says that looting is morally preferable to entrepreneurship or trade. Why? Because looting is more manly. In looting, you have to beat the guy in open combat to take his stuff. America is based on a different idea. The idea of acquiring wealth not by taking it from someone else. Instead, wealth can be created through innovation, entrepreneurship and trade. Let's take a look at Manhattan. Reportedly in 1626, Native Americans sold Manhattan to the Dutch for $700 in today's money. There's land all over the world now that you can buy for $700. But when the Dutch bought Manhattan, there was no Manhattan. Prices are astronomical today because of what's been built over the past 300 years. Manhattan is the creation of the people who built it, not the original inhabitants who sold it. Manhattan represents the new American ethic of wealth creation. An alternative to conquest."

"Did America steal the country from the Native Americans? Much of this critique focuses on Columbus and the actions of the Spanish conquistadors. But Columbus never even landed in America. And the actions of the Spanish, that was 150 years before America."

"Land possession is part of a long history in which the stronger Native American tribes displaced weaker ones. The Native Americans, too, subscribe to the conquest ethic. But what about the charge of genocide? In the two centuries after Columbus, the Native American population declined by 80%. But it wasn't due to warfare. Rather, as historian William McNeill points out, they contracted diseases, measles, typhus, smallpox, cholera and malaria, to which they had no immunities. Now, this is tragedy on a grand scale, but it's not genocide because genocide implies an intention to wipe out a people. Just a century and a half earlier, one-third of the population of Europe was wiped out by a series of bubonic and pneumonic plagues. Those plagues came from Asia, and the Europeans had no immunities. We don't call that genocide."

"For the first time in history, a great war was fought to end slavery. 300,000 Northern soldiers died in that war. They died to secure for the slaves a freedom that the slaves were not in the position to secure for themselves. Even the Civil Rights Movement was not a break with the American founding. [...] Where did Martin Luther King get his 'promissory note'? Not from the segregationists. He got it from the Declaration of Independence. It was the American founding that established the principles that made possible the success of the Civil Rights Movement."

"The topic of race, more than any other, generates taboos. And taboos are the enemy of history and of truth. In the early 17th century when slavery started in America, another group was brought to this country by force. They were white indentured servants. Starting in 1618, children were captured from the streets of London and sold into colonial America. But it didn't stop there. Over the next century and a half, another 150,000 Irish men, women and children were declared soldiers of war by Britain and sold into colonial indentured servitude with many landing in Virginia and New England. Indentured servitude was not slavery. It didn't have the same ideology of racial dehumanization. And it was for a limited period, typically seven years. Yet, these people often had their term extended or died before they got their freedom. Indentured servants worked side by side with slaves. For many years, white indentured servants outnumbered black slaves."

"Gates and other scholars estimate that in the period before the Civil War, there were approximately 3,500 free blacks who owned more than 10,000 black slaves. In South Carolina and Louisiana, Gates points out, the percentage of free blacks who owned slaves was approximately the same as the percentage of whites who owned slaves."

"Slavery existed all over the world. The Egyptians had slaves. The Chinese had slaves. The Africans did. American Indians had slaves long before Columbus. And tragically, slavery continues today in many countries. What's uniquely Western is the abolition of slavery. And what's uniquely American is the fighting of a great war to end it."

"Whatever you think about the Vietnam War, America wasn't stealing from the Vietnamese. And in Iraq, we spent a whole bunch of money and then we turned over the oil fields to the Iraqis. Under the conquest ethic, we would have kept it. In Afghanistan after 9/11, the US military, even while bombing terrorist targets, was delivering food rations to Afghan civilians. And far from stealing, America rebuilt Germany and Japan after World War II. Contrary to the Zinn narrative, we're not the bad guys of the world. As Colin Powell said, "The only land that America asks for abroad is land to bury our dead.""

"Steve Jobs, did he rip people off? He created products that people didn't even know they wanted or needed. But once he made them available, they clamored for them and stood in line to buy them and freely spent their money for them. There's no rip-off. Capitalism works not through coercion or conquest, but through the consent of the consumer."

"Does capitalism promote global injustice? From businesses in the Middle East to factories in South America to entrepreneurs in China, the world is embracing the free market. Does it seem to you ironic that this sort of entrepreneurial capitalism, that this recipe has become so controversial at home here while it is being enthusiastically embraced in so many other parts of the world?"

"So is the wealth of America based on theft? Actually, no. The wealth of America isn't stolen, it's created. The ethic of conquest is universal. What's uniquely American is the alternative: equal rights, self-determination and wealth creation. If America did not exist, the conquest ethic would dominate the world once again. America isn't the problem. America is the answer."

"And how badly we need right now a Washington, a Lincoln, a Reagan. Well, we don't have them. But we do have us."

"THE FOLLOWING FILM IS BASED ON ART, MUSIC, JOURNALS, SUPER 8 FILMS, AND AUDIO MONTAGES PROVIDED BY THE FAMILY OF KURT COBAIN."

"Kurt's testicles were the size of soft balls"

"Kurt's brain was just constantly going. … As I grew up, I'm, like, I'm so glad I don't—I never got that genius brain."

"Praise was hard for him to take, maybe? And he didn't know how to handle that."

"I guess, like, we were more "friends"? I didn't know what "falling in love" was, so, I'd never experienced it. So I just thought, because I liked him I loved him. And so he got me an engagement ring and we got engaged. Y'know, it was fun; I mean, it was like, okay, I'm—all those problems are behind me, now; I'm gonna have babies!And I just couldn't wait to get pregnant; I mean, that was the goal. … Everything really did happen for a reason. Kurt had to be born; it was—it was a must.He was the first grandchild on both sides. Everybody was coming over—constantly. Can't even describe what a magnet he was; people would just come to him."

"He started singing and playing guitar, and once he could draw, he drew all the time."

"Kurt, he was hyper, full of energy, always busy, y'know, jumping off of things, knocking things over—anything that would have to do with being a normal child. And Don, he didn't know how to handle that. He was one of those kind of people that just thought children should be seen and not heard and shouldn't cause any trouble. I mean, he belittled and ridiculed Kurt would be shamed."

"Kurt was nine at the time, and everybody was talking about it. It just embarrassed him to death that we had gotten divorced. He…just became really unruly."

"And I think there's one thing that I said at one time, that I was never gonna get married again. And I think he took that for a word. Then I met Jennifer, and we got married, and, you know, he had a step-brother and -sister and then our son, Chad."

"He wanted to be in a family—period. … The game nights that we had, that was really important to him. … He wanted to be the most loved, and it just wasn't the ideal world that he thought a family should be."

"It was like nobody—after a couple of weeks, they wanted him out. I think the sad part of the whole thing is that Kurt just really wanted to be with his mom."

"It's almost like he didn't—he didn't feel worthy because he was rejected, basically. And I don't know how anybody deals with having your whole family reject you."

"In a community that stresses macho male sexual stories as a highlight of all conversation, I was an underdeveloped, immature little dude that never got laid and was constantly razzed. "Oh, poor little kid." It bothered me probably more so because I was horny and frequently had to make up stories like, "Oh, when I went on vacation, I met this chick and we fucked and she loved it." Et cetera, et cetera."

"I accumulated quite a healthy complex, not to mention a complexion. Then one day I discovered the most ultimate form of expression ever: marijuana. Oh, boy—pot! I could escape all day long and not have routine nervous breakdowns."

"It turned out that pot didn't help me to escape my troubles too well anymore and I was actually enjoying doing rebellious things like stealing booze and busting store windows. And nothing ever mattered. I decided within the next month, I'll not sit on my roof and think about jumping, but I'll actually kill myself. And I wasn't going out of this world without knowing what it was actually like to get laid. … And so, during lunch, a rumour started, and by the next day, everyone was waiting for me, to yell and cuss and spit at me, calling me "the retard fucker." I couldn't handle the ridicule, so I got high and drunk and walked down to the train tracks, and laid down and put two big pieces of cement on my chest and legs and I waited for the eleven o-clock train. And the train came closer and closer and closer, and it went on the next track besides me instead of over me. The tension from school had an effect on me, and the train scared me enough to try to rehabilitate myself, and my—my lifting weights and—and mathematics seemed to be improving, so I became less manically depressed, but still never had any friends because I—I hated everyone, for they were so phony."

"People don't realise where we really came from, y'know? What an isolated hellhole it really is. Y'know, man, if witch burnings would've been legal, we would've all been dead now, y'know?"

"He'd always have to, like, do some kind of art, y'know, usually defacing something. He never had, like, idle hands. It just came out of him. He had to express himself."

"I liked that he was funny. He made me laugh. He wasn't afraid to be, you know, goofy or silly."

"He was ambitious. He didn't want to just be—play in a bar band, y'know, and play that way; he wanted to be a success."

"Hey, girl She could bring me I could be more She could be free I don't even care We could be on free She said She said"

"She could have soared with pleasant dreams She could evolve with what I seen She could have been a son She could have sung a song"

"The KKK Are the only Niggers."

"may women rule the world."

"Abort Christ."

"your Government hates you"

"Assassinate the Greater And lesser of two evils."

"your parents are afraid of you"

"punk rock means freedom"

"my emotions are affected by music."

"I use bits and pieces of other personalities to form my own."

"I am threatened by ridicule"

"Humans Are Dumb All Humans Are stupid I'm Ashamed to be A Human"

"We actually want to become successful, so we can have a comfortable life."

"Kurt hated being humiliated. He hated it. He hated it. If he ever thought he was humiliated, then you would see the rage come out."

"He had really violent dreams a lot. People would be breaking into his house, trying to kill him, and he'd have to stab them."

"I would give up everything to have good health. But then again, I'm always afraid that, if I lost the stomach problem, I might not be as creative."

"And he's standing there with this tape in his hand, and I go, "What's that?" And he goes, "It's the master cut to my new album. Can I put it on the stereo?" And I go, "Yeah, and turn it up! Up, up, up!" ('Cause I listen to music really loud.) And I look at him and I go, "Oh, my God. Oh, my God." And I almost started crying. I mean, at—not from happiness—from fear. It was fear. And I just went, "This is going to change everything." And I said, "You better buckle up, 'cause you are not ready for this.""

"He wanted to build a home because his home and his family fell apart."

"He was super cute, but he carried himself like someone who didn't know that—and that was part of the charm. He didn't know that he was a better-looking guy than Brad Pitt."

"Courtney Love: I can't—I know it's not even like I can't trust you; it's just, you can't trust men in general, even if they're "new men," and they're—they're you. And even if they're like you, you still can't trust them. Kurt Cobain: I understand what you're trying to say, but I don't agree. Courtney Love: You just— Kurt Cobain: I'm a "new man," I'm a man for the '90s!"

"And if you say your prayers You will make God happy"

"If there's anything we're determined to do, it's to give Frances as much love as we can."

"…and nodding out and…I was pretty sure he knew I knew. But I decided one time to just confront him. And I went up to his bedroom; he was sitting on the side of his bed, and he was crying, because I had just arrived and he knew it was breaking my heart."

"ONE MONTH AFTER RETURNING FROM ROME, KURT COBAIN TOOK HIS OWN LIFE.HE WAS 27 YEARS OLD."

"It's emotional journalism. It's the closest thing to having Kurt tell his own story in his own words—by his own aesthetic, his own perception of the world. It paints a portrait of a man attempting to cope with being a human. When Brett and I first met, I was very specific about what I wanted to see, how I wanted Kurt to be represented. I told him, "I don't want the mythology of Kurt or the romanticism." Even though Kurt died in the most horrific way possible, there is this mythology and romanticism that surrounds him, because he's 27 forever. The shelf life of an artist or musician isn't particularly long. Kurt has gotten to icon status because he will never age. He will always be that relevant in that time and always be beautiful."

"I find it amusing that the filmmakers never bothered to fact-check [simple stuff], and just took Kurt and Courtney at their word. That’s a bit risky when you’re supposed to be making a behind-the-scenes documentary — but not surprising considering that not a lot of what’s out there about Kurt is the truth anyway. But no one seems to care. Unfortunately, it matters very little what the facts are; what matters is what people believe. And when it comes to Cobain, most of what they believe is fabricated nonsense. Montage of Heck does nothing to counter that. With that in mind, it’s really hard to take any of this film seriously."

"I suppose this movie will be interesting for Nirvana completists, because it certainly reinforces their already twisted view of the man. I found it to be mostly misguided fiction. Not a happy experience. I did enjoy the really cool animation, though, and they did a fantastic job of showing what a depressing shit-hole Aberdeen really was and still is. For that, I salute them!"

"Kim Cobain — herself"

"Kurt Cobain — himself (archive footage)"

"Krist Novoselic — himself"

"Wendy O'Connor — herself"

"Don Cobain — himself"

"Jenny Cobain — herself"

"Tracey Marander — herself"

"Dave Grohl — himself (archive footage)"

"Courtney Love — herself"

"Frances Bean Cobain — herself (archive footage)"

"Five years after his passing, excerpts from the film Lee had worked so feverishly on during the final months and hours of his Life, are edited into a film featuring Lee's title, The Game of Death. But the film bears no comparison to Lee's original multi-level vision. Without Lee's choreography notes, script-outline and motif the producers are uncertain what to do with the 100 minutes of footage they have in their possession. Moreover, they discovery that Lee was such a perfectionist that of the 100 minutes of footage they have in hand, two-thirds turn out to be outtakes and retakes, shot that Lee himself had discarded for sequences in the film that he felt were beneath his standard of quality. They deem only 11 minutes and 7 seconds of the footage ti be worthy of inclusion in their film. The rest, approximately 21 minutes worth, they discard. Intercutting actual footage of Lee into fight sequences involving lookalikes and even using cardboard cutouts of Lee's head, the end result Is viewed by many as an exploitive and grotesque joke played on the great artist's legacy. By now, even Lee's most zealous fans are beginning to believe that the original footage Is gone. And that It will never be possible to see the footage Lee shot in its entirety nor to ever learn what his original storyline for the film was. In the fall of 1994, during research conducted for a multi-volume book series based on Lee's surviving writings, Lee's original script and choreograghy writings for The Game of Death are recovered. The writings confirm what had long been suspected that Lee had shot considerably more footage for The Game of Death than had been seen to date. Another unexpected surprise Is discovered among his choreography writings. His hand-written storyline, 12 pages in length and containing all scene breakdowns and select dialogue passages the original storyline stands in sharp contrast to the one presented in the film released under the same name. After the discovery of Lee's script notes a search to find the missing footage Is launched. It will last some six years, but then the miraculous happens. The original 35mm film footage Is located. After having been separated for over a quarter of a century Bruce Lee's original footage and script notes are finally reunited. Over the course of this film, you'll see this footage as Bruce Lee had intended for It to be shown, and you'll also come to understand the struggle he had to undergo in order to bring It to the big screen. And perhaps along the way, you'll come to know the real Bruce Lee the man behind the legend, a little better as well."

"In the battle of the third floor, Lee's character makes use of a green bamboo whip. The whip represents flexibility, an attribute which Lee felt a martial artist must possess if he was to be successful in combat. Since combat, like Life, Is not predictable, Lee held that one must possess a pliable adaptability in order to change with change. Lee has his character dressed in a one-piece yellow track suit to symbolize no affiliation with any known martial arts style."

"Then It's just two people who are being aware of their own movements who are observing the other person's movements and being able to fit in with that person's movements, so that there's no set pattern of movements. No well, when be does this, then I do this. It's just a total freedom to react to what the other person does. In fact, Bruce inscribes It perfectly on the back of this medallion where he wrote his motto, It says, Using no way as way having no limitations as limitations. Over the years this phrase has been somewhat misinterpreted. People think of using no way as way to mean anything I do is okay and anything I do is my way. I don't think Bruce really intended It to mean that way. He just meant not to be boxed in by a certain way, so that you never get into a situation where there's only one response. You adapt to what the situation calls for. I think Bruce had that down pretty well."

"When Bruce closed the schools, he felt he was unburdening himself of having to prove through his students that his system had merit. He didn't want to get into that. He wanted them to evolve and teach, but It was not a thing where you have to teach what I taught. You have to teach what you learned and that's going to be more than what he taught, hopefully for those students that understood what he was doing."

"Taky Kimura: [Lee had chosen his real-life senior-most student, Taky Kimura to play the guardian of the second floor. According to Kimura, Lee wanted him to utilize praying mantis gung fu as well as some elements of wing chun, both arts that emphasize infighting use of hands predominately, with kicks limited to below the waist] I think It was in October of '71-'72, in that era. He called me and said he wanted me to be in that movie. I said, Look, Bruce, I've got two left front feet. You know it and I know it. There's probably 1,000 people in Hong Kong that can do It better. Just let me sit here and enjoy the fruits of your success. You know me, I don't need ti be in that. He said, No, I want you in it. I'm the technical director and the co-producer. Don't worry about it. So, I reluctantly, for fear that he'd kick my butt if I said no, at that point, I said okay. He'd already sent me an airline ticket. And really, I think at this point in his life. I think he had transcended the gimmicks that are usually in these movies. And I think that he had gotten to that plateau where you could just simply do the simple, you know, normal things and yet create that excitement within that simplicity."

"His big advantage is that he gives no thought to life or death. And with no distracting thoughts, he is therefore free to concentrate on fighting against the attack from outside. [from dialogue cantonese (螳螂嘅最高優點，就係佢能將生死置諸度外，心無一念，全心全意去對付外來嘅侵犯。) with the English subtitles]"

"With his great size, he is going to find it difficult to keep getting up each time I knock him down. [from dialogue cantonese (呢個巨人越係身形高大，當我每次打中佢，跌低時，佢龐大嘅身體就越捱唔起。) with the English subtitles]"

"Look at him. Give him the fatigue bombing! [from dialogue cantonese (睇佢個樣，實行疲勞轟炸！) with the English subtitles]"

"I'm so tired. No, no! Hai Tien, he must be much more tired than you. Calm down your soul. [from dialogue cantonese (我已經好攰喇。唔係，唔係！海天，佢比你更攰，定吓神。) with the English subtitles]"

"You are my brother! I will let you do this first deed of merit. You go ahead. Wish you success"

"Pierre Berton: There are lines that express your philosophy. I don't know if you remember them Bruce Lee: I remember them Pierre Berton: Let's hear It Bruce Lee: I said... this Is what It Is, okay? I said, Empty your mind. Be formless. Shapeless, like water. Now, you put water into a cup, It becomes the cup. You put water into a bottle, It becomes the bottle. You put it in a teapot, it becomes the teapot. Now, water can flow or It can crash. Be water my friend."

"Hai Tien: [prepares to fight with his bamboo whip] You know baby, this bamboo is longer, more flexible and very much alive, and if your flashy routine cannot keep up with the speed and elusiveness of this thing here, all I can say is you will be in deep trouble. 3rd Floor Guardian: That we will have to find out. Hai Tien: [fight proceeds] I am telling you it is difficult to have a rehearsed routine to fit in with broken rhythm … see, rehearsed routines, lack the flexibility to adapt."

"Since the death of Bruce Lee there have been many attempts at piecing together the incomplete footage that he shot for Game of Death. Two of the worst versions were Robert Clouse's 1978 version Ng Seee Yuen's 1981 version, also known as Tower of Death. Throughout the eighties and nineties there have also been many fan-based attempts to piece together the footage, with VHS tapes available through the martial art magazines' small ads sections. The most well-known of these attempts are the Staicool Internet edits which pooled all the available material to form what would have been the climax of Game of Death. It was in 1972 that Bruce Lee donned his yellow cat suit and began work on what would surely have been a better film than any that he did complete. But only now do we have the opportunity to see the little footage that was shot, edited into a coherent form. Using a twelve-page breakdown written by Bruce. Author and Bruce Lee fan John Little has put together the best edit of the available footage. The nearest we may ever get to seeing The Game of Death what Bruce Lee intended for Game of Death, in terms of accurate editing, is the thirty-five minutes of footage that is the subject of John Little's documentary Bruce Lee: A Warrior's Journey. Having successfully assembled the footage into its intended form, Little then set about adding a score and dubbing the dialogue. Chi Hon Joi and Kareem Abdul Jabar bridged the thirty-year gap band provided the dialogue for their respective Temple of Gold and Temple of the Unknown sequences. Little himself dubbed Bruce Lee's voice, and some sound effects. Considering that Little claims (quite accurately, I'm sure) to have seen Enter the Dragon over five hundred times, he is probably capable and entitled to have a stab at imitating the master. Dan Inosanto on the other hand, chose instead to offer the same service to the Japanese company Artport, who made a generally less successful, though occasionally superior, attempt at piecing together the same material. A Warrior's Journey runs for around one hour and forty minutes-consisting of an hour's well-structured documentary and interviews (with the usual suspects) leading up to the mentioned footage. Additional material is also taken from come movies released by Linda Lee, including Bruce presenting a trophy to Joe Lewis, along with clips from Longstreet, and a selection of out-takes and bloopers. The documentary was premiered on Irish TV in 1999 and was seen again at a fan convention in Bradford in 2000. By this time, before the official release, it had been widely bootlegged and was available to buy or trade. Brad Kaup who edited A Warrior's Journey, says that they used all the scenes that they had access to-discounting any alternative out-takes that is. He himself does not believe that there is Any "missing" footage, yet adds strangely that people should continue to search. It is speculated that the Lee estate my be holding on to genuine unseen footage from Game of Death. But unless it's their intention to maximize revenue by releasing the material piecemeal, it's hardly likely that they would continue to sit on any such material for reasons of privacy. Especially given their readiness to sanction the upcoming computer-generated movie, the X-box game, or Rob Cohen's movie, Dragon: A Life of Bruce Lee."

"Little had Bruce’s dialog notes for Bruce Lee: A Warrior's Journey [...] however Little [...] didn’t have dialog notes for one of Bruce’s lines, Little chose to leave the audio portion silent, with a “dialog missing” legend appearing on-screen [...] Bruce seems to say is, “Do you understand? This sword becomes a whip,” [...] Little used Jabbar and Ji Han Jae to dub their own voices [...] Bruce Lee: A Warrior's Journey features the dialog Bruce actually wrote for the movie [...] both English and Cantonese."

"Linda Lee Cadwell — Himself / archive image"

"Taky Kimura — Himself"

"Bruce Lee — Archive footage"

"Ji Han-jae — Himself"

"Kareem Abdul-Jabbar — Himself"

"Bruce Lee — Hai Tien"

"James Tien — (Tien)"

"Chieh Yuan — (Yuan)"

"Dan Inosanto — (3rd Floor Guardian)"

"Ji Han-jae — (4rd Floor Guardian)"

"Kareem Abdul-Jabbar — Mantis (5rd Floor Guardian)"

"Hwang In-shik — (1rd Floor Guardian: only a 1972 short footage outdoors without dialogue)"

"Taky Kimura — (Candidate as 2nd Floor Guardian)"

"Hak-Kyu Kim — Hai Tien"

"Byung-Joo Kim — Tien"

"Sung-Woo Park — Yuan"

"Sun-Man Bae — First Tung"

"Hee-Soo Hwang — Sister"

"Kang-Kook Lee — Wong"

"Se-kyn Oh — Second Thung"

"Tong-il Pang — The Boss"

"Marty Rhodes — Narrator"

"Ho-You Yun — Kid"

"Bill Katz — American Fighter"

"The Story (Hand-written by Bruce Lee, for The Game of Death in 1972, is 12 pages in length, publesched in the book and after also as special features of the documentary)"

"An insider's account of the remaking of Bruce Lee's last movie, The Game of Death. Nearly 30 years after Lee's death, John Little discovered Lee's original scripting notes, directorial instructions and footage from the film. Working with Lee's widow, Linda Lee Cadwell, Little reshot the film according to Lee's original vision. The book, as well as looking at the making of the new movie, also looks at the philosophy behind the movie and Lee's own philosophical nature."

"Nora signed on for Game of Death shortly before Bruce stopped filming. No one knows what part she would’ve played [...] Most likely she would’ve played Bruce’s sister, as Bruce’s script outline, shown in Little’s “Bruce Lee: A Warrior’s Journey” book, states that Bruce was to play Hai Tien, a retired martial arts champion who travels to Korea with his sister and little brother."

"The ability to talk the same language is gone. More and more we’re divided into communities of concern. Each side can ignore the other side and live in its own world. It makes us less of a nation, because what binds us together is the pictures in our heads. But if those people are not sharing those ideas, they’re not living in the same place."

"What Are the Real Forces Behind the Occupy Movement?"

"Our contention is that the occupation was no random occurrence. It's a combination of Anonymous and other factors. I think a center-left populist movement would be incredibly productive and helpful to the country right now. But I think that was hijacked by the side parties who took over the movement. The movie is violent and vulgar. I put cameras out there everywhere, and the middle class doesn't read the alternative press. It comes across as shocking for people who see it."

"Occupy Unmaske was not just important to Andrew. It was vital. He insisted that it be made. Andrew often saw and knew things before the rest of us. And he pegged the Occupy movement for what it was from day one. He saw that Occupy was the creation of an amalgam of nefarious forces, ones intent not on changing the system, but on overthrowing it: anarchists, the hackers collective Anonymous, Marxists, the hard left, and nihilists. As Andrew was wont to say, sunlight is the best disinfectant. Shining the light on these people, exposing them for who they really are, is almost always the first step toward stopping them."

"Andrew Breitbart (final film role)"

"Bryan Carmody"

"Brandon Darby"

"David Horowitz"

"The American people are outraged, even if the elites aren't, and the elites can't be outraged because they're in the fix, but the average American understands what's going on."

"When this is over, we won't be the country we have been. The choices in the next few years are among the most profound we will have seen in all of American history."

"Michael Barone"

"Bruce Bartlett"

"John Bolton"

"Arthur Brooks"

"Newt Gingrich"

"Women like Sarah Palin and Michele Bachmann are really the unintended consequences of the women's liberation movement. For liberal feminists, this is not what they bargained for. We have successful, strong-willed, independent women who stand up for conservative, traditional values. Women are leading this movement because they've been raised to be unafraid. Completely balls to the wall unafraid. What to they have to run from? I didn't grow up feeling oppressed. I didn't grow up feeling like a victim. I'm not beholden to anyone. I'm don't have to carry water, and I don't have to act like I'm am the result of someone doing me a favor."

"Motherhood is political. Period."

"The Awakening of the Conservative Woman"

"Michele Bachmann"

"Deneen Borelli"

"Ann Coulter"

"S. E. Cupp"

"Dana Loesch"

"They Live from 1988 is definitely one of the forgotten masterpieces of the Hollywood left. [...] when he put one of them on walking along the L.A. Streets he discovers something weird; that these glasses function like critique of ideology glasses. They allow you to see the real message beneath all the propaganda, publicity, posters and so on. [...] When you put the glasses on you see dictatorship in democracy. It’s the invisible order, which sustains your apparent freedom."

"We live, so we are told, in a post-ideological society. We are interpellated, that is to say, addressed by social authority not as subjects who should do their duty, sacrifice themselves, but subjects of pleasures. "Realise your true potential. Be yourself. Lead a satisfying life.""

"According to our common sense, we think that ideology is something blurring, confusing our straight view. Ideology should be glasses, which distort our view, and the critique of ideology should be the opposite like you take off the glasses so that you can finally see the way things really are. This precisely and here, the pessimism of the film, of They Live, is well justified, this precisely is the ultimate illusion: ideology is not simply imposed on ourselves. Ideology is our spontaneous relation to our social world, how we perceive each meaning and so on and so on. We, in a way, enjoy our ideology."

"The basic insight of psychoanalysis is to distinguish between enjoyment and simple pleasures. They are not the same. Enjoyment is precisely enjoyment in disturbed pleasure. Even enjoyment in pain and this excessive factor disturbs the apparently simple relationship between duty and pleasures."

"If you read intelligent catholic propagandists and if you really try to discern what deal are they offering you. It's not to prohibit, in this case, sexual pleasures. It's a much more cynical contact as it were, between the church as an institution and the believer troubled with, in this case, sexual desires. [...] Not only the explicit message: renounce, suffer and so on... but the true hidden message: pretend to renounce and you can get it all."

"Enjoyment becomes a kind of a weird perverted duty. The paradox of Coke is that you are thirsty you drink it but as everyone knows the more you drink it the more thirsty you get."

"A desire is never simple the desire for a certain thing. It’s always also a desire for desire itself; a desire to continue to desire. Perhaps the ultimate quarrel of a desire is to be fully filled in, met, so that I desire no longer. The ultimate melancholy experience is the experience of the loss of desire itself."

"We are not talking about objective, factual properties of a commodity. We are talking only here about that illusive surplus."

"Kinder Surprise egg, a quite astonishing commodity. The surprise of the Kinder Surprise egg is that this excessive object the cause of your desire is here materialised in the guise of an object, a plastic toy which fills in the inner void of the chocolate egg. The whole delicate balance is between these two dimensions. What you bought, the chocolate egg and the surplus probably made in some Chinese gulag or whatever, the surplus that you get for free. I don’t think that the chocolate frame is here just to send you on a deeper voyage towards the inner treasure, what Plato calls the agalma, which makes you a wealthy person, which makes a commodity the desirable commodity. I think it’s the other way around. We should aim at the higher goal, the goal in the middle of an object precisely to be able to enjoy the surface. This is what is the anti-metaphysical lesson, which is difficult to accept."

"Taxi Driver is an unacknowledged remake of perhaps the greatest of John Ford’s westerns, his late classic The Searchers. In both films, the hero tries to save a young woman who is perceived as a victim of brutal abuse. [...] The task is always to save the perceived victim. But what really drives this violence of the hero is a deep suspicion that the victim is not simply a victim. That the victim, effectively in a perverted way, enjoys or participates in what appears as her victimhood, so that, to put it very simply, she doesn’t want to be redeemed, she resists it."

"When he is there, barely alive, he symbolically with his fingers points a gun at his own head; clear sign that all this violence was basically suicidal. He was on the right path, in a way, Travis of the Taxi Driver. You should have the outburst of violence and you should direct it at yourself, but in a very specific way, it won’t in yourself change you, ties you to the ruling ideology."

"[...] fascism is, at it’s most elementary, a conservative revolution. Revolution – economic development, modern industry, yes. But a revolution which would none the less maintain or even reassert a traditional hierarchal society. A society which is modern, efficient, but at the same time controlled by hierarchal values with no class or other antagonisms. Now, they have a problem here, the fascists, but antagonism, class struggle and other dangers is something inherent to capitalism. Modernisation, industrialisation, as we know from the history of capitalism, means disintegration of old stable relations. It means social conflicts. Instability is the way capitalism functions. So how to solve this problem? Simple. You need to generate an ideological narrative which explains how things went wrong in a society not as a result of the inherent tensions in the development of this society but as the result of a foreign intruder."

"Ruth Buzzi as Soprano"

"Richard Bakalyan as M.C. Bird"

"John Emerson as Bird Fancier"

"Jim Swain as Bird Fancier"

"Ann Lord as Bird Fancier"

"Hank Schloss as Bird Fancier"

"Walter Perkins as Bird Fancier"

"Rolf Darbo as Bird Fancier"

"With war, we often create distance between heroes and ourselves. But I believe that heroes are ordinary and they are among us and I wanted to explore that through Myth. (2018)"

"Noted that prescreening of “Myth” in Washington, DC, where all important US political decisions are taken, had special significance. He also highlighted that the documentary was about love to one’s native land that was worth of the highest possible self-sacrifice. (2018)"

"We’ve announced on the Internet that we need help. We asked [people] to send us some fragments of footage or photos. Everything that is connected to Vasyl Slipak. And we received donations from all over the world. Sometimes it was only a few seconds of footage shot from some kind of camera or a phone. (2018)"

"Our film turned out to be really diverse because it’s about Vasyl. We’ve all come to terms with his death a long time ago and then he became so familiar and alive for us, because we have worked on the video where he smiles at us for many days. (2018)"

"Animation will emphasize that Vasyl was a big child. I don’t know whether he was aware of what was happening to him and its consequences but his perception was childlike. (2018)"

"When Leonid arrived to shoot the movie, all the commanders were suspicious at first. They didn’t believe that he’s shooting a film. They thought he was investigating Slipak’s death. (2018)"

"Very strong impressions. I think that everyone should watch this movie somehow. Such a valuable person cared and went to war. (2018)"

"Four years ago, during the seemingly never-ending funeral processions that saw casket after casket float out on a sea of cellphone lights on Independence Square while thousands chanted “heroes never die” in unison, Myth was in France, part of the Ukrainian ex-pat community slowly coming to the realization that he could not sing freely on European stages while his countrymen were fighting back home. I’m not sure how much distance there actually is between hero and Myth, but I’m grateful for the opportunity to reflect on it again here in Toronto, where those chants that once rattled our eardrums and shook our perceptions of ourselves and our fates seem more distant every day. (2018)"

"Ambassador Valeriy Chaly thanked the audience of the event for their support for Ukraine and their interest to a new film as well as expressed appreciation to directors and crew for creating the documentary that allowed to feel and understand better the events in Ukraine related to the Russian aggression. (2018)"

"But despite the film’s title, the co-directors Leonid Kanter and Ilya Yasniy abstained from overt mythmaking. Instead, they created a nuanced, multifaceted profile of Wassyl Slipak, the Ukrainian opera singer who abandoned his life in Paris to fight and, ultimately, die for his country. The result is an unexpectedly touching, at times meditative reflection on both Slipak himself and the nature of sacrifice and war. The film includes extensive interviews with Slipak’s ex-girlfriend Liza, who appears to be from Russia. In essence, the opera singer chose the Ukrainian armed forces over her, a decision that she cannot entirely comprehend. Yet instead of the potential political significance of the decision, the directors focus on the human side of the story. The documentary presents Slipak as an over-the-top, maximalist personality. Yet it also does not shy away from his shortcomings. Soldiers in his battalion admit that he probably wasn’t the best fighter in the group. Friends admit to not entirely understanding his decisions. However, the most chilling moment of the film comes near the end. When Slipak was hit by sniper fire, one of his comrades-in-arms had a camera running. While we don’t see Slipak being shot, we do see the other soldiers’ frantic and ultimately unsuccessful efforts to resuscitate him. (2018)"

"It was hard to watch the movie. Sometimes you feel that your heart is breaking. But we have to live on and to rethink everything that has happened to us, as a society. The story of heroism and self-sacrifice makes everyone think over their own lives. After each such death we lose part of our self, however, such documentaries make us stronger. The cinema was packed and the viewers – mostly Kharkiv activists, volunteers and soldiers – were standing in the aisles as well to see the film. (2018)"

"The documentary film about his life is titled Myth and interestingly the title is a play on words. In Ukrainian, the word is “Mif”, which is also the nom de guerre that Slipak took on when he went into combat. It was the shortened form in Ukrainian of Mephistopheles, his favourite operatic role in his stint with the Paris opera. Ironically it symbolically reflects his real-life transition from an operatic hero to a tragic real life hero. The film is not your standard documentary of a war hero, nor does it indulge in a hagiographic interpretation of his life. It avoids idolizing Slipak, showing a man who, though a world class talent with a penchant for sacrifice and heroism, was still very human, and at times prone to mischief and self-indulgence. When he left Paris to go fight the Russians in the Donbas, he not only abandoned his promising operatic career, but also broke the heart of a woman with whom he had a deep love affair. In many ways he was larger than life, and to more normal humans like myself, it can be hard to understand the motivations and passions that drove him to do what he did. Heroes are often enigmatic creatures, driven to do extraordinary things by an inspiration that transcends standard human reality. Whatever the case, there can be little doubt that Slipak’s extraordinary life story is worthy of literary and artistic treatment. It is a story that is rapidly and deservingly evolving into the realm of mythology, both in Ukraine and in the diaspora. The great American expert on mythology, Joseph Campbell developed the concept of “the hero’s journey” as a process of “following your bliss”, and Slipak’s own heroic journey towards becoming a myth is a good reflection of this ideal. As Campbell once said, “When we quit thinking primarily about ourselves, and our own self-preservation, we undergo a truly heroic transformation of consciousness.” (2018)"

"Bill Thompson as Professor Owl / Bertie Birdbrain (uncredited)"

"Loulie Jean Norman as Penelope Pinfeather (uncredited)"

"Charlie Parlato as Chorus Singer (uncredited)"

"Gloria Wood as Suzy Sparrow (uncredited)"

"The Mellomen as Singing Group (uncredited)"

"What we need to do to design is to look at the extremes. The middle will take care of itself."

"Mark Bittner as Himself."

"Judy Irving as Herself. (uncredited)"

"[first lines] There are few places hard to get to in this world. But there aren't any where it's harder to live. The average temperature here at the bottom of the Earth is a balmy 58 degrees below. That's when the sun is out. It wasn't always like this. Antarctica used to be a tropical place densely forested and teeming with life. But then the continent started to drift south. And by the time it was done drifting, the dense forests had all been replaced with a new ground cover, Ice. As for the former inhabitants, they had all died or moved on long ago. Well, almost all of them. Legend has it that one tribe stayed behind. Perhaps they thought the change in weather was only temporary. Or maybe they were just stubborn. But whatever their reasons, these stalwart souls refused to leave. For millions of years they have made their home on the darkest, driest, windiest and coldest continent on Earth. And they've done so pretty much alone. So in some ways this is a story of survival. A tale of life over death. But it's more than that, really. This is a story about love."

"[last lines] And they will march just as they have done for centuries, ever since the emperor penguin decided to stay, to live and love in the harshest place on Earth."

"[in trailer] There is a mysterious ritual that dates back thousands of years. No living creature has survived it except the penguin. They have wings but cannot fly. They're birds that think they're fish. And every year, they embark on a nearly impossible journey to find a mate. For twenty days and twenty nights, the emperor penguin will march to a place so extreme it supports no other life. In the harshest place on Earth, love finds a way. This is the incredible true story of a family's journey to bring life into the world: March of the Penguins."

"Morgan Freeman - Narrator."

"Surely, if slaughterhouses had glass walls, would not all of us be vegetarians. But slaughterhouses do not have glass walls. The architecture of slaughter is opaque, designed in the interest of denial, to ensure that we will not see even if we wanted to. And who wants to look?"

"Alexander P. de Seversky as Himself (as Major Alexander P. de Seversky)"

"Billy Mitchell as Himself (archive footage)"

"Art Baker as Narrator"

"You don't look, you see. You don't hear, you listen. You taste the top of your mouth. Your nose is filled with fumes and death. But the veneer of civilization has dropped away."

"What I hope the film does is that it takes away 100 years and makes you think that those who fought were just the same as us. They were no different and yet what they experienced was something extraordinary in all sorts of ways, good and bad. Their human response to what they experienced is strangely familiar because we all go through times of hardship, pain, suffering, pain and pleasure. We hear these guys talking about the same things that we feel and you suddenly realize that 100 years has just evaporated and it makes it more immediate."

"We had so much stuff. Honestly, 600 hours of sound and 100 hours of footage. There is probably five or six films of this sort that could be made from that archive … Give me two and a half hours and sure, the nurses would have been there. You need to do something focused and intensely and do it justice, or you kind of spread yourself too thin. It was a decision I had to make."

"I realized there was so much more about diet and disease that I hadn't ever learned. It felt as if this information had been practically withheld. Processed meat causes cancer. Sugar doesn't cause diabetes. I had doubt about the claims these doctors were making, so I did some searching on my own. Harvard researchers looked at nine prospective studies finding that just one serving of processed meat per day increased risk of developing diabetes by 51%. The link between eating meat and developing diabetes became undeniable. But, when I went on a leading diabetes organization's website, the American Diabetes Association, not only did they not have this information front and center, they were featuring recipes for red and processed meat. And on their recipes for healthy living, they had bacon-wrapped shrimp. What the health?"

"When people are eating meat, I think of it as a bit like smoking. It's sort of Russian roulette. You may not get diabetes, but your chances of getting diabetes, about 1 in 3. You may not get cancer, but, your chances, if you're a man, about 1 in 2. A woman, 1 in 3. Your chances of gaining weight, 2 out of 3. It's not all diet, but, most of it is. The best thing that you can do to make sure that you empty all those bullets out of the chamber and not taking a risk with your health is to get the animal products out of your diet and eat healthy foods."

"We can actually change the expression of genes — tumor suppressing genes, tumor activating genes — by what we eat, what we put into our bodies. So, even if you've been dealt a bad genetic deck, you can still reshuffle it with diet."

"When you're treating diseases with drugs, you know there's one drug you take for cholesterol, a different class of drugs you take for high blood pressure, different class of drugs you take for diabetes, but, with diet, a plant-based diet affects all these diseases. One diet to kinda rule them all."

"If I could deliver one message to the researchers who are looking for the cause of diabetes, and the cause of clogged arteries, and the cause of high blood pressure, and the cause of obesity, I would tell them the answer is in three words. It's the food!"

"If people adopted a plant-based diet, the changes we would see in our individual health, in our national health situation and in this physical, environmental world we live in, would be so profound!"

"What's really sad is that we cannot trust information from these leading health organizations like the American Heart Association and the American Diabetes Association because they are taking money from the very industries who are causing the problems that they are supposed to be helping to prevent."

"If you look at the incidence of hypertension and diabetes and mortality in men, they actually get reduced when you get higher and higher in how much you restrict animal products."

"A lot of people had doubted me when I first became vegan, but my energy levels increased incredibly and my iron, my B12, everything that people said would become deficient, were amazing. I thought, I'm gonna make sure I'm beating them all on the track. I mean, we're all friends, but it was pretty cool to finish my Australian domestic season undefeated. And to win the nationals was obviously that little cherry on top."

"I grew up in Kentucky so that's the land of casseroles and barbecue and meat. So when I transitioned over to an entirely plant-based diet, I wasn't sure if I was gonna survive. And I actually became like a machine."

"When I made the switch to a plant based diet, people, they were like, "I don't know how you're gonna lift that much weight." And, "You're not gonna be eating anything, you're just gonna eat grass. Like, how you gonna be strong?" I qualified for my third Olympic team, you know what I'm saying? I broke two American records. I won at the Pan-Am games. I was like, "Man." Like, "I think, I should've done this a long while ago." Like, "Why didn't I research this before?""

"In the NFL, the injury rate is a 100 percent. It's a violent game. And so, how you respond to injury and how quickly you heal from injury is important because if you're not on the field, you're not helping the team. I was reading the research and seeing that a plant-based diet could be beneficial, specifically for recovery. And so I started incorporating it and I started seeing really good results with it. I was recovering better. I wasn't getting as sore. I was a lot less swollen."

"In all of western civilization, there is nothing more common than coronary artery heart disease, and that is because of the foods that most people eat every day."

"When you eat animal products, you start to form plaques in the coronary arteries. Plaque formation in the arteries doesn't just limit the function of the arteries, it can also block the blood flow, and that's when the heart starts to have some real problems keeping up with the demands of the body."

"The amino acids that come from animal sources tend to make our cells rev up and multiply faster. For example, there is accumulating evidence that high consumption of proteins from dairy sources is related to a higher risk of prostate cancer. That chain of cancer causation actually seems pretty clear."

"Meat plays a disproportionately large role in causing this overuse of freshwater. Twenty-five percent of the rivers in the world no longer reach the ocean, because we're taking out so much water to produce animal feed."

"When you eat a healthy, whole foods, plant-based diet, it changes the expression of your genes. It turns on the good genes, turns off the bad genes. Your genes are a predisposition, but your genes are not your fate."

"We all wanna feel great. We all wanna look great, have more energy. The most important thing is about having the right fuel in your body. I can't remember feeling this great in my whole 32 years of my life."

"It's not about being the strongest and the biggest. It's really about what are you going to do with your strength, and what are you going to do with the power that you have."

"James Wilks"

"Scott Jurek"

"Morgan Mitchell"

"Dotsie Bausch"

"Kendrick Farris"

"Patrik Baboumian"

"Bryant Jennings"

"Griff Whalen"

"Derrick Morgan"

"Caldwell Esselstyn"

"Dean Ornish"

"Kim Williams"

"Rip Esselstyn"

"Lucious Smith"

"Arnold Schwarzenegger"

"Walter Willett"

"Richard Wrangham"

"Christina Warinner"

"Mark Thomas"

"David Katz"

"Johan Rockström"

"Lewis Hamilton"

"I found out that one quarter-pound hamburger requires over 660 gallons of water to produce. Here I've been taking these short showers, trying to save water, and to find out just eating one hamburger is the equivalent of showering two entire months."

"I had to come to the full conclusion, the only way to sustainably and ethically live on this planet with seven billion other people is to live an entirely plant-based vegan diet. I decided instead of eating others, to eat for others. At first, like these environmental groups, I was afraid of what it’d mean to change. But now, I embrace it. All this talk about sustainability sounded like our planet was on some sort of life support. And I don’t want her to simply survive or to sustain, but to thrive. Life today is not about sustainability. It’s about thrive-ability. She’s given so much to us for so long, it was time to give back. A hundred and eight percent of everything we have. It felt good. It was an alignment."

"The animal agriculture industry is one of the most powerful industries on the planet. I think most people in this country are aware of the influence of money and industry on politics, and we really see that clearly on display with this industry in particular. Most people would be shocked to learn that animal rights and environmental activists are the number one domestic terrorism threat according to the FBI. […] A big part of it is that they, more than really any other social movements today, are directly threatening corporate profits. When we try to find out how factory farms and how animal agriculture is polluting the environment, they try to claim exemptions to that information, either under "national security terms" or "public safety", "trademark issues", "it’s a business secret". We've seen all these attempts to keep people in the dark about what they’re actually doing."

"Is it possible to be a healthy vegetarian or vegan? I became vegan, let’s see, 32 years ago now. And, I run several miles every day, I go biking 40, 50 miles through the countryside, I work long hours, I feel great, it’s nice waking up with a light, trim body every day. And so many of my vegan friends, and patients, you know, are thriving, ever since their transition to a vegan diet. So, yes, and I’ve seen vegan moms go through healthy vegan pregnancies, deliver healthy vegan children, and raise them to tall, full-size, intelligent vegan adults. And, yes, certainly, all the nutrients are there in the plant kingdom to do this."

"If we all, as a society, did go vegan, and we moved away from eating animal foods and toward a plant-based diet, what would happen? If we didn’t kill all these cows and eat them, then we wouldn’t have to breed all these cows because we’re breeding cows, and chickens, and pigs, and fish. We’re breeding them over and over again, relentlessly. So if we didn’t breed them, then we wouldn’t have to feed them. If we didn’t have to feed them, then we wouldn’t have to devote all this land to growing grains, and legumes, and so forth to feed to them. And so then the forests could come back. Wildlife could come back. The oceans would come back. The rivers would run clean again. The air would come back. Our health would return."

"When you take the animal out, you also take the greenhouse gas issue out. And you take the food safety issues out. And you take some of other externalities related to food scarcity out. But one thing that’s amazing is I think you put our values back in. You put values like compassion, and integrity, and kindness. Values that are natural to human beings, you put that in. You build that back into the story of our food."

"Do what you can do, as well as you can do it, every day of your life, and you will end up dying one of the happiest individuals that have ever died."

"You can change the world. You must change the world."

"Kip Andersen"

"Richard Oppenlander"

"Michael Pollan"

"Will Tuttle"

"Leila Salazar-Lopez"

"Howard Lyman"

"Will Potter"

"Michael Klaper"

"Kirk R. Smith"

"Lauren Ornelas"

"Josh Tetrick"

"It was only when my wife, Eunice Wong, took me to see Cowspiracy, the documentary by Kip Andersen and Keegan Kuhn, that I fully understood how severe the damage the animal agriculture industry has done to our democracy, as well as to our health and our environment. My attitude toward becoming a vegan before seeing the film was similar to Augustine's attitude toward becoming celibate: "God grant me abstinence, but not yet." […] The film documents the cascading, domino-like impact of animal agriculture on the global ecosystem. I realized when I saw it that the animal agriculture industry was one of the most important forces in the corporate strangulation of the common good. And I kicked myself for missing this."

"I was very unused to being in a room with large men, well-armed, who are continually telling me I'm lying, and that I must have done something. I told them that this thing that they were prosecuting wasn't a crime. I told them that they were on the wrong side of history; I used that phrase: I said, "You're on the wrong side of history." And they looked bored. They didn't even look angry, just bored. And it began to occur to me that we weren't having the same conversation."

"I'm still angry. You can try your best with these people to do the right thing, and they will turn everything against you, and they will hurt you with anything they can. And, in that moment, I regret that I said what I did; but, my much larger regret is that we have settled for this; that we are okay with this; that we are okay with a justice system that tries to game people into little traps so they can ruin their lives."

"Aaron believed that … you literally ought to be asking yourself all of the time, "What is the most important thing I can be working on right now?" And if you're not working on that, why aren't you?"

"In 1973 He Brought Us the Film Classic, The Exorcist, 45 Years later Academy Award-Winning Director William Friedkin brings us the real thing."

"I had been curious to meet Father Amorth for many years. In the early 1970s, when I directed the film The Exorcist, I had not witnessed an exorcism. Maybe this would be an opportunity to complete the circle, to see how close we who worked on the film came to reality or to discover that what we created was sheer invention."

"Gabriele Amorth"

"William Friedkin"

"William Peter Blatty"

"Robert Barron"

"Over the years, I’ve seen changes. I’ve been a witness to perhaps the greatest era of discovery about the ocean. But at the same time, the greatest era of loss. Since the middle of the 20th century, humans have succeeded in extracting from the ocean, immense quantities of wildlife. The estimate is by the middle of the 21st century, if we keep taking wild fish at the level that we are today, there’ll be no commercial fishing, because there won’t be enough fish to catch."

"We understand that leaving trees or planting trees really helps the carbon equation, but nothing matters more than maintaining the integrity of ocean systems. I mean, these big animals, even the little ones, they take up carbon. They sequester carbon when they sink to the bottom of the ocean. The ocean is the biggest carbon sink on the planet."

"“Do fish feel pain?” As a scientist, it’s common sense. They have a nervous system, fish do. They have the basic elements that all vertebrates have. They have the capacity to feel on a level that I almost can’t imagine we can. We feel pain, we feel touch. But fish have a lateral line down their sides that senses the most exquisite little movements in the water. So you see a thousand fish moving like one fish. Those who say, “Doesn’t matter what you do to a fish, they can’t feel anything.” Or that they… can’t relate to pain, or they can’t sense danger in the future. Well, they haven’t really observed fish. I think it’s a justification for doing dastardly things to innocent creatures. It’s the only explanation I can think of for treating fish with such a barbaric attitude. [So you don’t eat fish?] Oh, I don’t eat fish now, or any animal."

"We are at war with the oceans. And if we win this war, we’re going to lose it all, because mankind is not able to live on this planet with a dead sea. It’s the total industrialization of fishing that is the problem here. We are pretty much destroying everything at rapid speed."

"Even the groups that are talking about marine plastic are highly reluctant to talk about what a lot of that plastic is, which is fishing nets and fishing gear. We hear a lot about the , and say, "Oh, isn’t it terrible? All our cotton buds and plastic bags are swirling around in the Great Pacific garbage patch." 46% of it is fishing nets, discarded fishing nets, which are far more dangerous for marine life than our plastic straws. Because, of course, they’re designed to kill. Now, this is so crashingly obvious, why aren’t we talking about it? Why aren’t even the plastics campaigns talking about fishing?"

"By continued extraction of fish out of our oceans, you’re essentially deforesting our oceans by not only removing the fish, but the act of removal, the methods of removal are devastating to habitat, to ecosystems."

"The Deepwater Horizon oil spill in the was the biggest in history. It gushed huge quantities of oil into the deep sea for a period of months. And everyone was appalled at the death of wildlife on the beaches as the oil slopped ashore. But in fact, the fishing industry in the Gulf of Mexico destroyed more animals in a day than that oil spill did in months. Because large areas were closed to fishing because of the possibility of being tainted by oil, marine life actually benefited from the Deepwater Horizon oil spill because it got a respite from fishing."

"If you want to address climate change, the first thing you do is protect the ocean. And the solution to that is very simple: leave it alone."

"They want the people who eat fish to support them. And this was a problem when I was National Director for the , that was their problem. They didn’t wanna come out against hunting, against fishing, or against meat-eating. Because they thought they would lose membership support if they did. A lot of these groups aren’t interested in solving the problem, they’re interested in exploiting the problem."

"I think people come to speak to us about every possible form of suffering that the hits human heart. My role is help a person discover you can always find hope and if you can find hope you might find faith."

"Dolores Hart"

"It is Christmas day. I am leaving London tonight and flying to New York. I'm taking with me a film dispatch, the story of Christmas in England in the year of the blitz, nineteen hundred and forty. Perhaps you'd like to see it."

"For the first time in history no bells in England to celebrate the birth of the savior. No church bells are allowed to be rung in England if they do it will mean that the invader has come."

"We think of Christmas as a night of stars. We think of a brilliant moon giving light to a tired world. This year in England people prayed for a dark and windswept night on nights like these the German bombers stay at home. A story night is an ally of England a non-belligerent that demands no rules of cash and carry."

"That first Christmas the shepherds watched and guarded. Today in England even the shepherds are in some kind of uniform."

"On Christmas Eve England does what England has done for a thousand years: she worships the Prince of Peace."

"While we may never know how The Game of Death would have turned out had Bruce Lee lived we do know, with unimpeachable certainty, the vision Lee had for the film during the time that he was filming its finale. According to his 12-page storyline the film would begin on an airplane that hade departed from Hong Kong. The character that Bruce Lee was to play in the film was named Hai Tien a retired, undefeated martial arts champion. Accompanying him on the flight would be his sister and young brother. The family are preparing to take a tour of Southheast Asia. When en route an annoucement is made that there will be a one-hour stopover in Korea. The plane then touches down and taxis into the gate at South Korea's Kimpo Airport."

"[ Dialogue ]"

"Later, in the training garden of the Boss,s home avery member of the team is training but Hai Tien who is still reticent and worried about the safety of his family."

"[ Dialogue: Hai Tien: I want you to remember me"

"Upon arriving at the compound the team must first fight their way through 10 guards all black belts in Karate. After dispatching the Karate men, the team heads for the pagoda. On man, the locksmith, opens the door to the temple. The martial artists enter the pagoda to do battle while the locksmith stands watch below. It was within the pagoda that the epic battles in The Game of Death were to take place as each floor of the pagoda was to be guarded by as killed martial arts stylist. On the first floor, one of the team would be killed. The second floor, The Floor of the Praying Mantis would see what was now the quartet lose another member of the team. Fortunately, the battle on the third floor of the pagoda and on the remaining floors as well, Bruce Lee captured on film."

"[1972 original footage]"

"At the end of the film an exhausted Hai Tien Staggers down the steps from the pagoda and departs the village. Although Bruce Lee never finalized the details for the ending of the film it is evident from his scene breakdowns that the boss would be arrested. Hai Tien, his sister and brother would be reunited after returning of the Korean airport. The storyline perfectly justified the action that would be required in the film while the choreography of the fight sequences served to related Lee's message of personal liberation in the art of combat."

"Good morning Fellas!"

"[ Announcer: Attention: there is a call for Mr. Tien. Mr. Hai Tien, please pick up the white courtesy phone at gate 16.(Hai Tien answers)] Voice (Tien): We've got your sister and little brother. Listen carefully - there is a car waiting for you outside. I want you to calmly walk out and get into the car. The lives of your sister and brother depend on you doing exactly what you are told."

"The Boss: This Is The Temple of the Leopard. It Is located there hours from here. This Temple contains one of our national treasures - It's irreplaceable and worth many millions of dollars to the Korean government. Your job will be to get it for me. As no guns are allowed here, the temple is guarded by trained fighters - martial artist. The temple has five floors - and we believe that the treasure Is on the top floor. The martial artists guard each level of the temple. I have acquired footage of some of them to let you know what you'll be up against. This man's specialty Is Escrima - a Filipino stick fighting art. He Is very dangerous and, I'm told, guards the third level of the pagoda the Hall of the Tiger. He has also been known to be an exponent of the nunchaku - a weapon I'm sure most of you gentlemen are familiar with. This man is a Hapkido master, 7th degree. He guards the fourth level. His skill is extraordinary. It may take all of you to subdue him. The first floor will be protected by this man. As you can see, his kicks are devastatingly powerful and incredibly fast. The entranceway will be blocked by karatemen. But you should be able to get past them. The real talent Is within the pagoda. If the door to the temple is locked Is locked - which It has been since our last attempt to get the treasure - our locksmith here should be able to pick the lock and let you in. Once inside the temple, I don't really know what you will be facing. There was a prior group that attempted to make It to the before you. Only one man from that group, Mr. Huang, survived. Seeing the members of his team killed by whomever guards that last level caused him considerable mental stress. He has since been committed to a local asylum. All he could tell us was Unbelievable agility and power. We don't know who guards the upper level, but whomever he is - he is extremely dangerous and skillful. Mr. Huang was a formidable martial artist in his own right - a very effective kicker - one of Hai Tien's students, I believe. I'm hoping that where the student fails, the master will succeed. Hai Tien and Mr. Tien will be in charge of the operation. That's It, gentlemen."

"Hai Tien Fans: Aren't you Hai Tien - the fighter? Hai Tien:Yes, I am Hai Tien Fans: I'm a huge fan of tours. May I please get your autograph? Hai Tien: Sure."

"Hai Tien: Will you excuse me a Moment?"

"Hai Tien: Nice weather"

"Hai Tien:Man! That's a big snake! That's more likes It - don't be so stiff. Hai Tien: It's very kind of Uncle Wong to have picked us up and allowed us to stay in his house while we are in Korea. The Boss: Ha, ha, ha. At last we have the pleasure of your company. Tien: "Lee Guo Hao," It's said that the foreigners call him "the yellow faced tiger." The Boss: I have five martial artist here that I would likes ti introduce to you. Hai Tien: Not yet Hai Tien: I thik there May be some Toys in your room. Hai Tien: Maybe you should go and help him look for them?Hai Tien: I'll be back in a Moment."

"Hai Tien: Do not let the kid know what's going on here. Stay insider and don't run around! sister: We'll be okay."

"The Boss: Ah, nice, of you rejoin us. These men Will all be taking part in our mission. This man is a fighter from America. This is Mr. Wong -- he is being paid $2000 - wich he needs for his mother for his mother's operations. This is Yuan, he is being paid only $700 but he is very strong. This is our locksmith, Mr. Kuan -- he makes me laugh. And this is Mr.Tien -- he has cost me the most because he is extremely efficient and is the current Asian Champion. Tien:By the way, I don't like retired and undefeated champions. I've Just spoken to you at the have forgotten my voice? Hai Tien:You know something, you sound tougheter than you look. The Boss: Hey, we're all froends here. Don't worry, I Will pay you for your part in this Mission! Hai Tien: I don't want your money The Boss: Perhaps not -- but you Will join us anyway because I know you want your brother and sister to remain healthy. We Will all meet back here in four hours to Watch a film of where we're going on our mission."

"Hai Tien: I would like to ask permissione to use your car to go to the asylum tomorrow mornig -- alone The Boss: To see Huang? Of course you can use my car but I can tell you it's a waste of time. Hai Tien: Thank you for letting just me go The Boss: That is why I like you: you know you HAVE to come back! For you know that if you don't, you Will never see your sister and brother again."

"Tien: I sure don't like the way you dress as a martial artist. Hai Tien: It's about what a martial artist wears. What really counts Is the ability of the man behind those clothes. By the way, have you looked at how you dress lately?"

"Huang: Unbelievable power and agility."

"Tien: You have a bad habit of being late! Hai Tien: You want your job done, don't you? The Boss: I can assurde you that the boy and girl are fine and know nothing about "our project." Hai Tien: You have no choice anyway - you need me and by the way, don't you or anyone in this house lay even one finger on either one of them! The Boss: I can assure you that my guardas personally Will take good care of then. And I might even be generous enough to let you see them anytime you want - but don't even try or think that you can leave this house. My generosity, you see, has a limit. Take today easy and conserve your energy. You can have a light workout later."

"Hai Tien: I want you to remember me"

"Another unexpected surprise Is discovered among his choreography writings. His hand-written storyline, 12 pages in length and containing all scene breakdowns and select dialogue passages the original storyline stands in sharp contrast to the one presented in the film released under the same name. After the discovery of Lee's script notes a search to find the [[The Game of Death (1972)|missing footage [1972 original footage]]] is launched."

"Hak-kyu Kim — Hai Tien"

"Byung-joo Kim — Tien"

"Sung-woo Park — Yuan"

"Sun-man Bae — First Tung"

"Hee-soo Hwang — Sister"

"Kang-kook Lee — Wong"

"Se-kyn Oh — Second Thung"

"Tong-il Pang — The Boss"

"Marty Rhodes — Narrator"

"Ho-you Yun — Kid"

"Bill Katz — American Fighter"

"Bruce Lee — Written by (for The Game of Death, 1972)"

"Bruce Lee — Hai Tien (only a 1972 short footage in credits cloused without dialogue)"

"Hwang In-shik — (1rd Floor Guardian: only a 1972 short footage outdoors without dialogue)"

"Dan Inosanto — (3rd Floor Guardian: only a 1972 short footage outdoors without dialogue)"

"Ji Han-jae — (4rd Floor Guardian: only a 1972 short footage outdoors without dialogue)"

"I thought you are not coming did you see it from the projector room you know nothing is perfect from the beginning but I believe Hong Kong movies should get the recognition from the world but to do that I have to try different things the talent and the equipment right now may not be good as Hollywood but I'm sure we'll find something to win them over I am an actor and a martial artist this movie will represent the best of me do you understand?"

"The hero of this movie The Game of Death learns everything in martial arts he also invented his own style he has purpose to the 5 level pagoda there is a martial arts master at each level 5 level older the goal of the hero is to reach the highest level and the martial arts of Chester at each level is higher than the other a life-death gate at each level and finally he beats the martial art master at the highest level and reaches the boundary of being invincible where the gods the pakoda it's the best martial art master such as karate, Taekwondo, praying mantis, HapKido wing turn and many others"

"You just like a game that kids are playing with there's no voice and no music looks really really funny the filling of the way of the Dragon at Rome has finished not less than two months the after recording was finished just two weeks ago they started filming the next movie already not only that they started filming the climax of the movie totally out of the blue and all of course that was a tremendous fighting scene but he also can't take it easily what does Superman anyway he's got awesome physical strength and he is a man of men but the thing you need to rest there should be the limit even work so long you think something is chasing do you think so"

"Do you understand? This sword becomes a whip!"

"[indicating to his bamboo whip] You know baby,this bamboo is longer,more flexible,and very much alive.And when your flashy routine cannot keep up with the speed and elusiveness of this thing here,all I can say is that you will be in deep trouble."

"Linda Lee: Bruce! Congratulations Bruce Lee: Go Brandon... Linda you know the biggest drawback on relaxing stuff like that I have to constantly remind myself I have to relax I have to relax Linda Lee: I don't want to argue with you but it's still better than doing nothing I mean a tedious life is worse than that Bruce Lee: it's what I always say Linda Lee: That's what I always Bruce Lee: Linda let's go to Hollywood together Linda Lee: What Bruce Lee: Let's go to San Francisco on the way back it's quiet is peaceful you've always wanted to go to San Francisco what do you say Linda Lee: Wait you always say that when you're busy but then it turns out you're so busy you can't go it'll probably be the same this time and the next time... thank you Bruce ask me again and I'll be waiting for it"

"Hai Tien:Do you speak any English? 3rd Floor Guardian:Of course I speak English! Hai Tien:I hope you don't mind if we move our man, so that the two of us will have more room to groove. 3rd Floor Guardian: [indicates that It's okay] But keep your man as far away from the stairs as possible."

"The picture quality is phenomenal [...] is presented in PAL [...] Dan Inosanto, however, does a fine job dubbing his own voice [...] of Kareem's normal eyes; then we get a quick close-up and his eyes become like those of a lizard's.[...] And the longer scenes [...] make the fights seem like they're occurring in real time."

"Chaplin Chang — Himself"

"David Lee — Bruce Lee"

"Guy Adaava — Linda Lee"

"Biao Yuen — Himself"

"Wah Yuen — Himself"

"Dan Inosanto — Himself"

"Tiffany Lee"

"Bruce Lee — Hai Tien"

"James Tien — (Tien)"

"Chieh Yuan — (Yuan)"

"Dan Inosanto — (3rd Floor Guardian)"

"Ji Han-jae — (4rd Floor Guardian)"

"Kareem Abdul-Jabbar — Mantis (5rd Floor Guardian)"

"Wah Yuen — (Candidate as 1rd Floor Guardian)"

"I'm not black, I'm not white, I'm the grey in the middle."

"Diseases mess with you from the outside, but syndromes mess with you from the inside."

"I don't believe that A B & C = D. It equals Z"

"Sometimes the salt tastes good, but I'd rather have the sugar."

"If ignorance is bliss, then I’m a blister"

"Ignore the normal people, who knows what they’re thinking."

"If I have to start fires, to put out fires, then so be it."

"Forget normal, I need better!"

"I'm a parasite inside a parasite inside of a host."

"I want to know the side effects before I swallow the pill"

"I’m not an easy pill to swallow, not hard to vomit either."

"Don't push the envelope. Shove the envelope."

"Don DeLillo writes dangerous fiction. He's been called America's leading contemporary novelist, and his ten novels come directly out of the flow of recent history. The Kennedy assassination, toxic fallout, acts of terrorism; these are all part of the running picture of news against which his books are set. This film was developed in close collaboration with DeLillo. He wanted to use the documentary form to explore the relationships between gunmen and the novelist, words and images, the power of news and the obsession with apocalypse. In doing so he asks, what effect can a novelist have on a culture in which terrorists seem to have hijacked the world's narrative."

"Isolation, solitude, secret plotting. A novel is a secret a writer may keep for years before he lets it out of his room. Writers in hiding, writers in prison. Sometimes their secrets turn out to be dangerous to the state machine. For most writers in the West of course this danger is extremely remote. The cells we live in are strictly personal constructions. Let's change the room slightly and imagine another kind of apartness. The outsider who builds a plot around his desperation. A self-watcher, a lonely young man, living in a fiction he hasn't bothered to put down on paper. But this doesn't mean he is unorganized, he organizes everything. This is how he keeps from disappearing. His head is filled with dangerous secrets, and he may finally devise a way to come out of his room. He invents a false name, orders a gun though the mail, then looks around for someone famous he can shoot."

"I think it's true that none of my novels could have been written in the world that existed before the assassination. In my fiction there seems to be a sense of danger everywhere, of something unraveling. When Kennedy was shot, something changed for ever in America. Something opened up, a sense of randomness, deep ambiguity, we lost the narrative thread."

"Maybe I'm wrong about this, but I think the footage comes close to uncovering some secret about the nature of film itself. Film carries something, some mindstream, some myth that may be common to us all. It's as though the experience of film has acquired a kind of independent existence in our consciousness, it's that deeply embedded. Have to get it on film."

"Today it's news that has begun to influence the way we see the world. It's news that has become so extraordinarily dominant. I think we've come to depend on news, the darker the better. In a way we need it, because it is the tragic narrative of our time."

"Stalking a victim is a way of organizing one's loneliness, making a network out of it."

"I knew I must extend myself until the molecules parted and I was spliced into the image."

"It seemed impossible to me that such a thing could fit into a hole that was non-existent to me. [...] I didn't feel like it, I wasn't aware of it. I kept asking the gynecologist if I had this vagina, if I had this opening. [...] I couldn't understand the mystery of menstruation, where they came from, I don't know... (Woman #2)"

"I've always had this relationship for a long time... this bad relationship with my body and soul and this terrible fear of sex and this terror of impurity that had been instilled in me since I was a child. [...] I have always had close to me, in an enveloping (and murky way) [...], priests who have always inculcated in me this idea of chastity. Chastity, impurity, impurity, and chastity. Continually. These priests followed me. They also often came to my house, they were friends of my parents. They were very concerned about my spiritual life. On the contrary, it seemed to me that they almost wanted to cultivate in me a chosen, particular creature, like this. They wanted to take care of my soul a lot, but by caring for my soul they made me live my body in a schizophrenic way as if it were a shell to be forgotten. (Woman #2)"

"This taboo of the body and sex, even though I have partly overcome it, has remained with me through the relationship I have with water. The constant need to be in the water, to wash myself. The constant need to be close to rivers and lakes... Especially at the rivers. This need also to feel the water, to feel that it washes, that it passes, that it is clean... (Woman #2)"

"[Addressed to the interviewer] Do you know that I am the daughter of a priest? (Woman #2)"

"That you feel pleasure, that you feel good, that you feel love, that you feel... In short, you try everything. That is, you think things out of the ordinary when you make love. (Frank) [about what is a sexual intercourse]"

"While I was jerking off something came out... like whipped cream. No, just kidding. It's ' stuff, isn't it? It's white. Well, no white, greyish, right? [...] It was soft, wasn't it? Namely... It was solid, kind of solid. No? Like lava. Do you know lava? Put the lava, white. So when this stuff came out, I felt pleasure. And I went to look in a book and it explained that it was the semen of the man. That is, that with that seed there you can fertilize a woman, etcetera, etcetera... And then I was proud, wasn't I? Because a nine-year-old, there's a few, eh, let the seed come soon. (Frank)"

"Interviewer: What would you like grown-ups to say to children? Frank: We kids? That we are like them."

"Frank: The adult has the car, he has the love, he has the girlfriend... It has it all... Well, it has the weapons. And we must have them [...] Because you see males with guns shooting like that. On the other hand, if you make them understand, they keep the weapons for collection - even real ones! - and they fire New Year's Eve one shot at a time, and that's it."

"Interviewer: Listen and you... having lost your member... Have you had any changes? Gloria: No, I didn't lose it, eh! Interviewer: You didn't miss it...? Gloria: No! I had it removed. I didn't miss it. [...] Interviewer: Didn't it alter you from a hormonal, physiological point of view? Gloria: No. No, nothing. No. [...] I feel better, I immediately felt better."

"Interviewer: And you love yourself? Gloria: Me? Interviewer: Yes. Gloria: Well, for what I am, no. I wanted to be a woman, yes. They are not as certain that they accept this state... On the other hand, I accept it, but anyway if I hadn't been it would have been better. Because it creates so many problems... Interviewer: That is? Glory: From a social point of view, let's say."

"We are, for example, transsexuals. That is, we are born... women. From every point of view, mentally... all. And we would like to be women. [...] In my sexual relations I would never feel that I am active, that I am playing an active part. It's something that disgusts me, that I don't accept. The man who comes with me must consider and treat me as a woman. You understand? This is the real transsexual. And then there's the transvestite.... That at the beginning we were too, albeit with a different mentality. Anyway we did the transvestites... Those who want to remain transvestite, who are almost proud of their sex, that is the real transvestite. He is the homosexual who is more feminine than masculine. Then there's homosexual. The homosexual does not want to be a woman at all. He just likes to be like that. And let them accept it that way, as it should be. Then there is - a bit of a scabrous word, but it must be said - there is the pederast. The pederast who is a lover of children. And that's one thing that's not pretty. Which is not pretty. So what. You see, among all these things people [...] treat us with a definitive word: the pederast, or the homosexual or vulgarly, as they say, the ass... They put us all in the same bag. (Glory)"

"Lola: In my sexual intercourse I also desired God. Because he's part of me and I'm part of him. That desire I imagine as the Holy Spirit. Interviewer: And the Madonna? Lola: The final intercourse."

"I'm not a woman and I don't want to be one. I'm not even a man, as specifically others are. We should find a terminology that suits us. Not even transsexual or hermaphrodite. We are little meteors falling to Earth. It's not that I want to be a rare beast or that I want to be an idol. We're flashes, beautiful. That the world exploits. There are those who castrate themselves, those who want to become women, to achieve a rational goal because society wants subdivisions. I think I'm one of the few who has remained who she is and who wants to live for who she is. Because I want to piss with my penis, not with an artificial vagina. (Lola) transgender"

"Love Meetings"

"[Archival footage] There is another way for the bloodshed to stop... and that is for the Iraqi military and the Iraqi people... to take matters into their own hands and force Saddam Hussein, the dictator.... to step aside..."

"[Archival footage] The great respect that I have for you Mister President... in this little understood, unfamiliar... war. The first war of the 21st century. It is not well known, it is not well understood, it's complex for people to comprehend. I know, with certainty, to come to the contributions you've made, will be recorded in history."

"[Archival footage] I picked up a newspaper today... and I couldn't believe it. I read eight headlines... that talked about... "Chaos!" "Violence!" "Unrest!" and it just was Henny Penny, the sky is falling!"

"[Archival footage] Think what's happened in our cities when we've had riots and problems... and looting. Stuff happens!"

"[Archival footage] ...said one was guerrilla war, another was insurgency. Another was unconventional war. [Man calls out; "quagmires?"] Pardon me? No, that's someone else's business, quagmires. I don't do quagmires."

"[Archival footage] We don't want the smoking gun to be a mushroom cloud."

"We severely condemn criminal action of U.S. forces. We mourn the catastrophe by the hands of evil forces. We demand the execution of Wahabi unbelievers who have the support of the Americans. They have been arrested and admitted their guilt before all who saw them. We demand their execution."

"They executed them for being Sunni. We have been living together until this. This is an Iranian wave against us! An Iranian wave! We are Muslims! How is this possible?! They say they are the Mahdi Army. Is this what the Mahdi Army does? Look at what he's become. [Referring to the corpses in coffins] Look at what he's become! Open the sack! Let them see his face!"

"[Passionately gesticulating in the street, repeatedly] No Saddam...!"

"The museum was never protected. It is a property of our nation, and the treasure of 7,000 years of civilization. Why do they allow it? Iraq's National Library and National Archives... containing thousands of ancient manuscripts... were burnt down."

"All what was written was keeping in this library. Now we have no national heritage."

"Three days ago... me and the doctor Jabar Khalil... chairman of the State Board of Antiquities, went to the headquarter of the Marine in the Hotel Palestine. We waited there for about four hours... til we met a colonel there. And at that day, he promised that he would send armored cars... to protect what's left from the museum. Three days ago, 'til now nobody came."

"On May 1, 2003, President George W. Bush declared an end to major combat operations in Iraq and said, "In the battle of Iraq, the United States and our allies have prevailed." Four years later, after over 3,000 American deaths and over 20,000 American wounded, Iraq has disintegrated into chaos. Millions of Iraqis have lost access to drinking water, sewage treatment and electricity since the invasion. Baghdad, a city of six million, has been under an 8 p.m. curfew since March of 2006. Over three million Iraqis have fled to neighboring countries. Estimates of the civilian death toll range as high as 600,000. Iraq's two major Muslim groups, the Shiite majority and Sunni minority, are increasingly at war. A month after September 11th, the United States entered Afghanistan in search of al Qaeda and Osama bin Laden. But even before the Afghan war, several senior administration officials were looking at another target, one that had nothing to do with the 9/11 attacks."

"The Iran-Iraq war ends in stalemate in 1988. In 1990, Saddam invades Kuwait. A US lead coalition expelled him... in a war masterminded by Dick Cheney, then Secretary of Defense... Paul Wolfowitz, then [[w:Under Secretary of Defense for Policy|"

"Yet when Iraq's southern Shiite's rise up the administration allows Saddam to repress them"

"The 1991 armistice requires Iraq to disarm. but Saddam refuses to comply. As a results Iraq's economy crumbles under a UN embargo instituted in 1993 and continued by the Clinton administration Saddam's favored elite remain wealthy but ordinary Iraqis are plunged into extreme poverty and many turned fundamentalist Islam. In 1993, when George Bush senior visits Kuwait... Saddam attempts to assassinate him. Seven years later, his son is elected president of the US."

"George W. Bush's foreign policy inner circle - Cheney, Rumsfeld and Wolfowitz - set the administration on course for war with Iraq. Condoleezza Rice sided with them. Colin Powell and Richard Armitage - the only senior officials with combat experience - expressed concerns privately, but supported the administration in public."

"During World War Two, the United States started planning the occupation of Germany two years in advance. But the Bush administration didn't created the organization that would manage the occupation of Iraq until 60 days before the invasion. ORHA, the organization for Reconstruction and Humanitarian Assistance reported directly to defense Secretary Rumsfeld."

"In formulating its views on post-Saddam Iraq, the administration relied heavily on a man named Ahmed Chalabi. Since 1992, Chalabi had been president of Iraqi National Congress, or INC. Widely viewed with suspicion, Chalabi had been convicted in Jordan of a huge bank fraud. The intelligence community found his information unreliable, or even fraudulent."

"The Iraq National Museum in Baghdad... number one on ORHA's list... contained some of the worlds most important artefacts... of early human civilization."

"Chalabi asserted that post-war Iraq would be pro-American and easily stabilized, particularly if Chalabi himself was in charge."

"The State Department's "Future of Iraq" project - a 13-volume study on post-war Iraq - was ignored by The Pentagon."

"In the months leading up to the invasion, a debate over troop levels required in Iraq had been privately brewing between the military leadership and Donald Rumsfeld. Rumsfeld and his deputy, Paul Wolfowitz, believed that a force of under 100,000 troops would be sufficient for the invasion and occupation of Iraq. A month before the invasion, the fight over troop levels became public, as the chief of staff of the Army, Eric Shinseki, testified before the Senate Armed Services Committee, ignoring pressure from Rumsfeld and Wolfowitz."

"Even more remarkable that the decision that the decision to disband the army is how that this decision was made... secretly... over a single week, by a few men in Washington, D.C. who had never been to Iraq. They did not consult with the military commanders in Iraq, not with the joint Chiefs of staff, ORHA, the State Department, the CIA, the National Security Council, or even, apparently the president of the United States. Walter Slocombe and Paul Hughes were reinterviewed in order to reconstruct the events leading to the dissolution of the army."

"The Iraq National Museum in Baghdad, number one on ORHA's list, contained some of the world's most important artifacts of early human civilization. The museum was never protected."

"When you see the same architects of those policies... on the one hand, talking about getting right what they had gotten wrong, back in 1991, you know... finishing the job. I was tempting to say, well... maybe they've learned."

"The '80s really summed up, in a very foretelling document from 1987, it said, uh; "Human rights and chemical weapons use aside..." uh, comma, [glances upwards in a tic of humorous observance] "...our interests run roughly parallel to those of Iraq."

"A number of the most generals came to the Channal Hotel, the UN headquarters and they were very explicit of the consequences of letting this order stand and of marginalizing this incredibly powerful segment of society would be an insurgency. A Lebanese diplomat named Hassan Salami turned to his colleagues as the generals walked away after one of their meetings and said; "I see bullets in their eyes" [Repeats Salami quote for dramatic emphasis]."

"14... out of Iraq's 18 govenors (provinces)... were under rebel control... when general Schwartzkopf... allowed... Saddam Hussein to use... helicopter gunships... to massacre... the rebels... men, women and children."

"We were starting from zero. I mean, if there are no desks, no chairs and no typewriters left... Where do we go and meet the Iraqis to start working? There was no structure left. Physical structure or bureaucratic structure. We had no phone list, we had no phones for a while, so I guess having no phone list was not really that important. We had no information, we had no place to go... we did not know who to contact. Not the best way to... Not the best way to start an occupation."

"When we were first starting the reconstruction, there were 500 ways to do it wrong and two or three ways to do it right. What we didn't understand is that we were going to go through all 500."

"We're talking people coming in with industrial cranes and walking off with parts of a power plant."

"We had done... a list of twenty sites that we thought needed to be protected. Um, historical, cultural, artistic, religious. And we provided that, and it really made no difference, whatsoever. [Titlecard: The oil ministry was the only building protected by the U.S. ministry. None of the sites on ORHA's list was protected]"

"It was such a confusing, loud, noisy, scary, hopeless place, and it was all put together. I'd see kids with ski caps on that said FBI on it and others would be giving me the big thumbs up. And you'd have other young men who probably fedayeen in civilian clothes giving me very hard stares... and... and... you know, always trying to size me up and always covering up the license plate of the car."

"Baghdad gets 10 bombings, 10 to 15 bombings a day and it's maybe 50 KIA. But I suspect that's drastically under-reported. We're probably only capturing a third of what's actually happening."

"The north and the west parts are controlled by the insurgents."

"I've seen people welcoming the Coalition troops, because we thought everything was planned, everything was prepared."

"I just... was waiting for the war to happen because it was the... the only ray of hope I had to look for... And when it happened, I was... excited, that things would move slowly... but... towards better circumstances."

"From here we can't change anything, because it's out of control now. I don't have future plans for being in Iraq. I don't see the bit of light at the end of the tunnel yet."

"There is a belief that the Americans actually encourage the looting or wanted to happen, the destruction of our country. How could they let this happen? Whether you're Sunni or Shia, you're outrage about the looting."

"At best, I think, they were liars. And at worst, they were provocateurs. If it's an NCI source, it was always looked at very, very skeptically by the analysts. But that wasn't the case with the policymakers."

"I'm standing there watching these insurgents pull out rockets and mortars and bombs from these weapons caches that the Iraqis had stashed everywhere. And you go to the British or to the U.S., whoever's there, with your little GPS receiver and say; "Hey, guys. We found like 18,000 million tons of bombs", and there are a bunch of Iraqis there with AK-47s taking it away. Probably not the best idea. Here's where it's located. And they say to you, we just don't have enough people to cover it. And it just - I couldn't believe it. It wasn't the right answer. Go there and take care of it, for your security, for the civilians' security - for everybody. It's just a bad idea."

"I joined the Marine because I always thought it as a really important job... and didn't feel I'll be content with myself going through life knowing that other people had fought for my freedom."

"I mean, you had huge ammunition dumps that weren't guarded until several weeks, if not a couple of months, after major combat actions ended."

"This is not just people stealing from grocery stores. I mean, this was people chipping concrete, walls into little pieces so they can take the rebar out."

"We could certainly have stopped the looting if that was our assigned task."

"Are you telling me that's the best America can do?... No, don't tell me that... That makes me angry. Don't tell the Marines who fought for a month in Najaf that. Don't tell the Marines who are still fighting every day in Fallujah that that's the best America can do. That Moqtada al-Sadr, a terrorist leader is now a rising political figure. That makes me angry."

"I joined the army to ah... support my country...and ah... thought it was a good thang to do, ya know..."

"It was... an honor... to go there and help my fellow soldiers... to do... what they telled us to go and do there maybe... take out a... dictator... out of the... power... to reestablish the democracy. To be in the bucket, if anything happens, you gonna get it."

"[Archival footage] His regime aids and protects terrorists, including members of Ạl Qạedạ."

"[Archival footage] General Garner and I are pledged to working very closely together."

"I'm listening. I'm listening to political leaders. [De Mello later perishes in the Canal Hotel bombing on August 19, 2003]"

"We continue to watch Iraq's involvement in terrorist activities."

"[Archival footage] What I want to bring to your attention today is the potentially much more sinister nexus between Iraq and the al Qaeda terrorist network."

"Iraq has drones. And they're going to take these drones, and they're going to put them on these ships, and they're going to arm the drones with chemical and biological weapons, and they're going to fly these drones off the ships and attack the East Coast of the United States. You know, this is absolute fantasyland. These people were, I don't know what they were smoking, but it must have been very good."

"If you want to date the beginning of the disaster of post-war Iraq, it would be January 20, 2003, when Bush signed, without - as far as I can tell - any real discussion within the White House or the administration, National Security Presidential Directive No. 24, which gave control of post-war Iraq to the Pentagon. That document essentially made Donald Rumsfeld the main actor on post-war Iraq. And so, the plan was, essentially, we'll stay for three or four months. We will install a government made up of exiles and led by Ahmed Chalabi. And then, in August or September of 2003, we will begin a drastic reduction of troops."

"The Iraqis were... waiting to see what was this was going to bring them. The presence of the Americans had not been rejected yet, by the Iraqis."

"Hard to imagine." Anyone who had any experience in the interventions of the '90s knew that the opposite was true. You need X numbers of soldiers per 1,000 citizens, simply to provide a modicum of security. But Paul Wolfowitz couldn't imagine it."

"This war was conceived by a very small group of people inside the Bush administration. They had an entirely naive vision of what Iraq was and what Iraqis would do once the regime fell."

"Larry DiRita addressed us in one forum and said, by the end of August of 2003, we will have all but 25,000 to 30,000 troops out of Iraq. I heard him say that in a room full of people. And I turned to my colleagues and I said, "This guy doesn't know what he's talking about. It's physically impossible.""

"I wasn't in my office but two hours. A young M.P. comes to see me, and he goes, "Colonel Hughes, I've got some Iraqi officers that want to meet with you." And I was thinking to myself, "Holy cow. What do I tell these guys?" So I finally came downstairs and met with them in the rotunda of the Republican Palace. Colonel Meijan says, "Colonel Paul, what happened?" And I said to him, "I don't know what happened. I have no idea how this came about." And he said, "All these soldiers. They now have no recourse. They have no money coming to them. What are they supposed to do?""

"These guys all knew where those munitions were. They knew how to get to those weapons and how to use them. And you've just sent them away and said they don't exist? Common sense tells me you don't do that."

"Just imagine the room/the suite we're that we're sitting in, and all that you have is just concreted walls, everything is gone."

"Within the group itself, we probably had... five... who spoke any amount of Arabic."

"There are nights when I don't sleep very well."

"There was an awful lot of thinking at State Department. There were board-feet of volumes on how we should do this. And almost none of this was integrated into the Pentagon's thinking."

"The secretary's frustration, along with my own, grew as we watched our careful planning, our detailed planning, essentially discarded, and the people who had been involved in it essentially discarded, so that more loyal, in line with the Republican Party's views, and so forth, people could be appointed to key positions in Iraq."

"I can't hold my peace any longer."

"John Abizaid and Dave McKiernan were constantly telling me, "How about hurrying up? Let's get the army back. Let's get their army back.""

"I had put people out on the street walking around asking: "Do you know anybody in medicine... ministry of Health...Interior...Education...?""

"There is a large number of former Iraqi soldiers that are unemployed now. That is a huge concern, not only from a security standpoint, but from an economic standpoint. They're not earning an income right now."

"It's hard to conceive that it would take more forces to provide stability in post-Saddam Iraq than it would take to conduct the war itself and to secure the surrender of Saddam's security forces in his army. Hard to imagine."

"We're talking about post hostilities, control over a piece of geography that's fairly significant, with the kinds of ethnic tensions that could lead to other problems. And so, it takes significant ground force presence."

"Did General Shinseki get it right? He was asked for his best military opinion. And his experience exceeds mine. He commanded our forces in Bosnia. He did it for a year-plus. He knows what he's talking about."

"Secretary Powell and, to the same extent, myself, we argued for more and more troops. And we made some difference. But ultimately, it didn't seem that we made enough of a difference."

"People who die, are lucky, but people living, are dead while they are alive."

"This is what it is. This is how we live it. This is how we see it. This is how we smell it and feel it. It's not a situation that you can say, "Let's try this. It will help. Let's try this, it will help." No, it's not."

"We have so many kinds of militias, you have the Mahdi militia, you have the Badr militia, you have many militias in this country, and they are all very democratic in arresting people and killing them."

"When I say goodbye to my husband, I think I'm not coming back."

"If Iraq disintegrates and becomes an arena of civil war, much of it will become like little Afghanistan, it's where terrorists from all over the world will find refuge."

"If Iraq goes back to some sort of Islamo-fascist regime like we had in under the Taliban in Afghanistan, then we are back to September the 10th, 2001, except, a much larger scale, and you know, with billions of dollars of oil money in their disposal"

"General Jay Garner, who briefly ran the reconstruction of Iraq before being replaced by L. Paul Bremer"

"Ambassador Barbara Bodine, who was briefly in charge of the Baghdad embassy in spring 2003"

"Richard Armitage, United States Deputy Secretary of State from 2001-5"

"Robert Hutchings, former chairman of the National Intelligence Council"

"Col. Lawrence Wilkerson, Colin Powell's former chief of staff"

"Col. Paul Hughes, who worked in the ORHA and then the CPA and currently serves as a senior advisor to the U.S. Institute of Peace"

"George Packer, author of The Assassins' Gate"

"Chris Allbritton, journalist and blogger for Time magazine"

"Marc Garlasco, senior Iraq analyst at the Defense Intelligence Agency from 1997–2003"

"Joost Hiltermann, Mideast director at the International Crisis Group"

"Samantha Power, author of A Problem From Hell, professor at Harvard Kennedy School at Harvard University, and U.S. Ambassador to the United Nations from 2013–17"

"James Fallows, author of Blind into Baghdad, national editor at The Atlantic"

"Paul Pillar, National Intelligence Officer for the Mideast on the National Intelligence Council from 2000-5"

"Ali Fadhil, an Iraqi journalist"

"Seth Moulton, lieutenant, U.S. Marines, elected the U.S. representative for Massachusetts's 6th congressional district in 2014"

"Linda Bilmes, former Assistant Secretary of the U.S. Department of Commerce, professor at Harvard Kennedy School at Harvard University and co-author of The Three Trillion Dollar War"

"David Yancey, specialist, Military Police, U.S. Army"

"Hugo Gonzales, field artillery gunner, U.S. Army"

"Omar Fekeiki, office manager of the Baghdad bureau of The Washington Post"

"Nir Rosen, a journalist"

"Walter B. Slocombe, Senior Advisor for Security and Defense to the CPA"

"Amatzia Baram (as Amazia Baram), professor of Middle East history, former advisor to the Bush Administration"

"Aida Ussayran, former Deputy Minister for Human Rights in Iraq"

"George W. Bush, United States president"

"Dick Cheney, United States vice-president"

"Donald Rumsfeld, United States Secretary of Defense"

"Condoleezza Rice, United States Secretary of State"

"Sérgio Vieira de Mello, Brazilian United Nations High Commissioner for Human Rights, who perished in the August 19, 2003 Canal Hotel bombing in Baghdad."

"Written and directed by: Jake Jakubowski"

"We get served Red Flags throughout all our lives, and we choose to ignore them. The song is called Red Flags and I'd like to describe it as if Stevie Nix and Prince had a baby, it has a combination of both there sounds, going for that late 70's early 80's vibe. I'm receiving Red Flags all along the way, but I'm also choosing to ignore them or doubting myself because I want, what I want and I'm not wanting what I'm actually seeing."

"This whole song is about empowering our intuition. Sometimes we're hyper-vigilant about Red Flags and we all owe it to each other to give a certain amount of Red Flag exemptions but when they start adding up after a certain point, we really need to reconsider what's going on, for our own safety and empowerment."

"[On her exit from the porn industry] The other girls leave with a bad taste in their mouth and they... and I just... I have nothing but good memories when I look back."

"Amber Lynn as Self"

"Asia Carrera as Self"

"Bobby Slayton as Self"

"Crissy Moran as Self"

"David Weintraub as Self"

"Dr. Neil Malamuth as Self"

"Houston as Self"

"John Leslie as Self"

"Juliana Gordon as Self"

"Kathleen Leslie as Self - John Leslie's Wife"

"Luke Ford as Self"

"Mary Carey as Self"

"Nina Hartley as Self"

"Randy West as Self"

"Raylene as Self"

"Richard Pacheco as Self"

"Tiffany Million as Self (as Sandra Scott)"

"Seka as Self"

"Shelley Lubben as Self"

"Sunset Thomas as Self"

"William Margold as Self"

"Written and directed by: Jake Jakubowski"

"Meet Thomas Morrison, affectionately known as "Tom the Bottleman" in Brunswick, Maine. For over a decade, Tom has been a familiar figure, walking miles daily to collect returnable bottles and cans, embodying dedication and community spirit. Despite personal health challenges, including a heart condition that required a pacemaker, Tom's commitment never wavered. When his essential bottle cart was stolen in late December 2024, the Brunswick community rallied, raising funds to provide him with a new, improved cart. This heartwarming story showcases the profound bond between a man and his town, highlighting resilience, generosity, and the impact of collective goodwill."

"In the quiet streets of Brunswick, Maine, before the town fully wakes, one man has already begun his daily journey. A familiar figure to many, he moves steadily, his cart in tow, filled with bottles and cans—collected one by one. His name is Thomas Morrison, but to the people of Brunswick, he is known simply as Tom the Bottle Man."

"For more than a decade, Tom has walked the sidewalks, parking lots, and back roads of Brunswick, gathering returnable bottles and cans. With each step, he carries more than just his cart—he carries a lifetime of memories, struggles, and unwavering determination."

"Tom has never been a man of excess. His work is simple, but vital—to him, to his daily survival, and to the rhythm of the town itself. He is a quiet fixture, a steady presence, moving with purpose from sunrise to sunset. And though he may walk alone, he is never truly alone."

"Behind his steady pace lies a quiet struggle. Tom faces the harshness of Maine’s winters, the exhaustion of long summer days, and the burden of a heart condition that once threatened to slow him down for good. When doctors placed a pacemaker in his chest, they warned him to take it easy. But Tom had no plans to stop."

"In the winter of 2024, something happened that shook Tom’s routine to its core. His cart—his most essential tool—was stolen. A devastating loss for a man who depends on it to make his living."

"For many, it was just a cart. But for Tom, it was everything. It was his independence. His livelihood. His constant companion on the roads of Brunswick."

"And then, something remarkable happened. The town took notice. News of Tom’s loss spread quickly, and within days, Brunswick responded—not with pity, but with action."

"Donations poured in. Small contributions from strangers, neighbors, business owners—people who had seen Tom’s quiet perseverance and felt compelled to give back. A fundraiser was launched, and in no time, enough money was raised for a new cart—sturdier, more reliable, built to last."

"And when the day came to present Tom with his new cart, there were no grand speeches, no cameras flashing—just gratitude. A simple act of kindness, given to a man who had never asked for anything."

"Tom never set out to be a symbol of resilience, but that’s what he became. He never sought attention, but attention found him. In his quiet way, he had shown a town the meaning of persistence, of humility, of the strength that comes from never giving up."

"To many, Tom is more than just a man collecting bottles. He is a reminder that every person has value. That no job is too small. That dignity is not measured in wealth, but in the way we live, the way we endure, the way we keep moving forward—no matter the weight of the cart we push."