Films directed by Martin Scorsese

"May 10. Thank God for the rain which has helped wash away the garbage and trash off the sidewalks. I'm working long hours now, six in the afternoon to six in the morning. Sometimes even eight in the morning, six days a week. Sometimes seven days a week. It's a long hustle but it keeps me real busy. I can take in three, three fifty a week. Sometimes even more when I do it off the meter. All the animals come out at night - whores, skunk pussies, buggers, queens, fairies, dopers, junkies, sick, venal. Someday a real rain will come and wash all this scum off the streets. I go all over. I take people to the Bronx, Brooklyn, I take 'em to Harlem. I don't care. Don't make no difference to me. It does to some. Some won't even take spooks. Don't make no difference to me."

"Each night when I return the cab to the garage, I have to clean the cum off the back seat. Some nights, I clean off the blood."

"Twelve hours of work and I still can't sleep. Damn. Days go on and on. They don't end."

"All my life needed was a sense of someplace to go. I don't believe that one should devote his life to morbid self-attention. I believe that someone should become a person like other people."

"I first saw her at Palantine Campaign headquarters at 63rd and Broadway. She was wearing a white dress. She appeared like an angel. Out of this filthy mess, she is alone. They...cannot...touch...her."

"May 26. Four o'clock p.m. I took Betsy to Charles Coffee Shop on Columbus Circle. I had black coffee and apple pie with a slice of melted yellow cheese. I think that was a good selection. Betsy had coffee and a fruit salad dish. She could have had anything she wanted."

"I called Betsy again at her office and she said maybe we'd go to a movie together after she gets off work tomorrow. That's my day off. At first she hesitated but I called her again and then she agreed. Betsy, Betsy. Oh no, Betsy what? I forgot to ask her last name again. Damn. I got to remember stuff like that."

"[talking on the phone to Betsy] Hello Betsy. Hi, it's Travis. How ya doin'? Listen, uh, I'm, I'm sorry about the, the other night. I didn't know that was the way you felt about it. Well, I-I didn't know that was the way you felt. I-I-I would have taken ya somewhere else. Uh, are you feeling better or oh you maybe had a virus or somethin', a 24-hour virus you know. It happens. Yeah, umm, you uh, you're workin' hard. Yeah. Uh, would you like to have, uh, some dinner, uh with me in the next, you know, few days or somethin'? Well, how about just a cup of coffee? I'll come by the, uh, headquarters or somethin', we could, uh... Oh, OK, OK. Did you get my flowers in the...? You didn't get them? I sent some flowers, uh...Yeah, well, OK, OK. Can I call you again? Uh, tomorrow or the next day? OK. No, I'm gonna...OK. Yeah, sure, OK. So long."

"I tried several times to call her, but after the first call, she wouldn't come to the phone any longer. I also sent flowers but with no luck. The smell of the flowers only made me sicker. The headaches got worse. I think I got stomach cancer. I shouldn't complain though. You're only as healthy, you're only as healthy as you feel. You're only as...healthy...as...you...feel."

"I realize now how much she's just like the others - cold and distant, and many people are like that. Women for sure. They're like a union."

"Loneliness has followed me my whole life. Everywhere. In bars, in cars, sidewalks, stores, everywhere. There's no escape. I'm God's lonely man. June 8. My life has taken another turn again. The days can go on with regularity over and over, one day indistinguishable from the next. A long continuous chain. Then suddenly, there is a change."

"June 29. I gotta get in shape now. Too much sittin' is ruinin' my body. Too much abuse has gone on for too long. From now on, it will be fifty push-ups each morning, fifty pull-ups. There'll be no more pills, there'll be no more bad food, no more destroyers of my body. From now on, it will be total organization. Every muscle must be tight."

"The idea had been growing in my brain for some time. True force. All the king's men cannot put it back together again."

"[looking in the mirror] Yeah. Huh? [draws] Huh? Huh? Faster than you, you fuckin' son of a...I saw you comin', you fuck. Shit-heel. [reholsters] I'm standin' here. You make the move. You make the move. It's your move. Huh? [draws gun from concealed forearm holster] Don't try it, you fuck. [reholsters] You talkin' to me? You talkin' to me? You talkin' to me? [turns around to look behind him] Well, then who the Hell else are you talking- You talking to me? Well, I'm the only one here. Who the fuck do you think you're talking to? Oh yeah? Huh? 'kay. [whips out his gun again] Huh? (Listen you fuckers, you screwheads. Here is a man who would not take it anymore. Who would not let- Listen you fuckers, you screwheads. Here is a man who would not take it anymore. A man who stood up against the scum, the cunts, the dogs, the filth, the shit. Here is someone who stood up. Here is...) [draws his gun] You're dead."

"[in an anniversary card to his parents] Dear Father and Mother: July is the month I remember which brings not only your wedding anniversary but also Father's Day and Mother's birthday. I'm sorry I can't remember the exact dates, but I hope this card will take care of them all. I'm sorry again I cannot send you my address like I promised to last year. But the sensitive nature of my work for the government demands utmost secrecy. I know you will understand. I am healthy and well and making lots of money. I have been going with a girl for several months and I know you would be proud if you could see her. Her name is Betsy but I can tell you no more than that...I hope this card finds you all well as it does me. I hope no one has died. Don't worry about me. One day, they'll be a knock on the door and it'll be me. Love, Travis."

"[in a note] Dear Iris: This money should be used for your trip. By the time you read this, I will be dead. Travis."

"Now, I see it clearly. My whole life is pointed in one direction. I see that now. There never has been any choice for me."

"When we came up with our slogan, "We are the People," when I said let the people rule, I felt that I was being somewhat overly optimistic. I must tell you that I am more optimistic now than ever before. The people are rising to the demands that I have made on them. The people are beginning to rule. I feel it is a groundswell. I know it will continue through the primary. I know it will continue in Miami. And I know it will rise to an unprecedented swell in November."

"Walt Whitman, that great American poet, spoke for all of us when he said: "I am the man. I suffered. I was there." Today, I say to you, We Are The People, we suffered, we were there. We the People suffered in Vietnam. We the People suffered, we still suffer from unemployment, inflation, crime and corruption."

"We meet at a crossroads in history. No longer will the wrong roads be taken."

"Passenger: [to Travis] You see the woman in the window? Do you see the woman in the window?...I want you to see that woman, because that's my wife. But that's not my apartment. That's not my apartment. You know who lives there? Huh? I mean, you wouldn't know who lives there - I'm just saying, "But you know who lives there?" Huh? A nigger lives there. How do ya like that? And I'm gonna, I'm gonna kill her. There's nothing else. I'm gonna kill her. What do you think of that? Hmm? I said 'What do you think of that?' Don't answer. You don't have to answer everything. I'm gonna kill her. I'm gonna kill her with a .44 Magnum pistol. I have a .44 Magnum pistol. I'm gonna kill her with that gun. Did you ever see what a .44 Magnum pistol can do to a woman's face? I mean it'll fucking destroy it. Just blow her right apart. That's what it can do to her face. Now, did you ever see what it can do to a woman's pussy? That you should see. You should see what a .44 Magnum's gonna do to a woman's pussy you should see. I know, I know you must think that I'm, you know... You must think I'm pretty sick or something, you know, you must think I'm pretty sick. Right? You must think I'm pretty sick? Hmm? Right? I'll betcha, I'll betcha you really think I'm sick right? You think I'm sick? You think I'm sick? You don't have to answer. I'm paying for the ride. You don't have to answer."

"Iris' father: [in a letter to Travis] Dear Mr. Bickle: I can't say how happy Mrs. Steensma and I were to hear that you are well and recuperating. We tried to visit you at the hospital when we were in New York to pick up Iris. But you were still in a coma. There is no way we can repay you for returning our Iris to us. We thought we had lost her, and now our lives are full again. Needless to say, you are something of a hero around this household. I'm sure you want to know about Iris. She's back in school and working hard. The transition has been very hard for her as you can well imagine. But we have taken steps to see she has never cause to run away again. In conclusion, Mrs. Steensma and I would like to again thank you from the bottom of our hearts. Unfortunately, we cannot afford to come to New York again, to thank you in person or we surely would. But if you should ever come to Pittsburgh, you would find yourself a most welcome guest in our home. Our Deepest Thanks, Burt and Ivy Steensma."

"On every street in every city in this country there's a nobody who dreams of being a somebody. He's a lonely forgotten man desperate to prove that he's alive."

"The distinction between hero and villain is sometimes a matter of interpretation or misinterpretation of facts"

"Though movies (Taxi Driver for John Hinckley Jr., would-be assassin of Ronald Reagan), books (The Catcher in the Rye for Mark David Chapman, John Lennon's murderer) and songs ("Helter Skelter" for Tate-LaBianca murders mastermind Charles Manson) may articulate specific criminals acts, they don't inspire the person's desire for violence. Science has proven that in numerous studies. It’s tempting to blame movies, video games and rap music because they often express humanity's worst impulses, but impulses are not actions for most of us. And for the mentally ill seeking violence, anything can set them off. Alek Minassian, the self-described incel (involuntary celibate) who deliberately drove his van into a crowd in Toronto in 2018, killing 10 people, said he was motivated by his resentment toward women for having sexually rejected him in favor of giving "their love and affection to obnoxious brutes." Should we then demand that studios producing romantic comedies and publishers of romance novels be shamed into contributing to anti-incel causes? The 2017 Las Vegas shooter killed 59 and injured 851 during a country music festival. Should country music bear some responsibility?"

"Robert De Niro - Travis Bickle"

"Cybill Shepherd - Betsy"

"Jodie Foster - Iris"

"Harvey Keitel - Sport"

"Peter Boyle - Wizard"

"Leonard Harris - Sen. Charles Palantine"

"Albert Brooks - Tom"

"As far back as I can remember, I always wanted to be a gangster. To me, being a gangster was better than being President of the United States. Even before I first wandered into the cabstand for an after-school job, I knew I wanted to be a part of them. It was there that I knew that I belonged. To me, it meant being somebody in a neighborhood that was full of nobodies. They weren't like anybody else. I mean, they did whatever they wanted. They double-parked in front of a hydrant and nobody ever gave them a ticket. In the summer when they played cards all night, nobody ever called the cops."

"Paulie might've moved slow, but it was only because Paulie didn't have to move for anybody."

"My father was always pissed off. He was pissed that he made such lousy money, he was pissed that my kid brother Michael was in a wheelchair, he was pissed that there were seven of us living in such a tiny house. After awhile he was mostly pissed because I hung around the cab stand. He knew what went on at that cab stand, and every once in a while I'd have to take a beating. But by then I didn't care. The way I saw it everybody takes a beating sometime."

"Hundreds of guys depended on Paulie and he got a piece of everything they made. And it was tribute, just like in the old country, except they were doing it here in America. And all they got from Paulie was protection from other guys looking to rip them off. And that's what it's all about. That's what the FBI could never understand. That what Paulie and the organization does is offer protection for people who can't go to the cops. That's it. That's all. They're like the police department for wiseguys."

"One day some of the kids from the neighborhood carried my mother's groceries all the way home. You know why? It was outta respect."

"For us to live any other way was nuts. Uh, to us, those goody-good people who worked shitty jobs for bum paychecks and took the subway to work every day and worried about their bills were dead. I mean they were suckers. They had no balls. If we wanted something, we just took it. If anyone complained twice they got hit so bad, believe me, they never complained again."

"Now the guy's got Paulie as a partner. Any problems, he goes to Paulie. Trouble with the bill? He can go to Paulie. Trouble with the cops, deliveries, Tommy, he can call Paulie. But now the guy's gotta come up with Paulie's money every week, no matter what. Business bad? "Fuck you, pay me." Oh, you had a fire? "Fuck you, pay me." Place got hit by lightning, huh? "Fuck you, pay me." Also, Paulie could do anything. Especially run up bills on the joint's credit. And why not? Nobody's gonna pay for it anyway. And as soon as the deliveries are made in the front door, you move the stuff out the back and sell it at a discount. You take a two hundred dollar case of booze and you sell it for a hundred. It doesn't matter. It's all profit. And then finally, when there's nothing left, when you can't borrow another buck from the bank or buy another case of booze, you bust the joint out. You light a match."

"For most of the guys, killings got to be accepted. Murder was the only way that everybody stayed in line. You got out of line, you got whacked. Everybody knew the rules. But sometimes, even if people didn't get out of line, they got whacked. I mean, hits just became a habit for some of the guys. Guys would get into arguments over nothing and before you knew it, one of them was dead. And they were shooting each other all the time. Shooting people was a normal thing. It was no big deal. We had a serious problem with Billy Batts. This was really a touchy thing. Tommy'd killed a made guy. Batts was part of the Gambino crew and was considered untouchable. Before you could touch a made guy, you had to have a good reason. You had to have a sitdown, and you better get an okay, or you'd be the one who got whacked."

"[Henry and Jimmy are dangling a man who owes Paulie money over the lion enclosure at the Tampa Zoo] They must really feed each other to the lions down there because the guy gave the money right up and we got to spend the rest of the weekend at the track. Then I couldn’t believe what happened, when we got home, we were all over the newspaper. At first I didn’t even know why we got picked up but then I found out that the guy we roughed up turned out to have a sister working as a typist for the FBI. I couldn’t believe it. Of all the fucking people. She gave up everybody; Jimmy, me, even her brother. Took the jury six hours to bring us in guilty. The judge gave Jimmy and me ten years like he was giving away candy."

"Saturday night was for wives, but Friday night at the Copa was always for the girlfriends."

"See, you know when you think of prison, you get pictures in your mind of all those old movies with rows and rows of guys behind bars...But it wasn't like that for wiseguys. It really wasn't that bad. Excepting that I missed Jimmy. He was doing his time in Atlanta...I mean, everybody else in the joint was doing real time, all mixed together, living like pigs. But we lived alone. And we owned the joint."

"[after the Lufthansa heist] It made him sick to have to turn money over to the guys who stole it. He'd rather whack 'em. Anyway, what did I care? I wasn't asking for anything and besides, Jimmy was making nice money with me through my Pittsburgh connections. [showing a montage of dead gangsters] But still, months after the robbery they were finding bodies all over. [police surround a truck, open it to see a dead man hanging on a hook like a meat husk] When they found Carbone in the meat truck, he was frozen so stiff it took them two days to thaw him out for the autopsy."

"You know, we always called each other goodfellas. Like you said to, uh, somebody, "You're gonna like this guy. He's all right. He's a good fella. He's one of us." You understand? We were goodfellas. Wiseguys. But Jimmy and I could never be made because we had Irish blood. It didn't even matter that my mother was Sicilian. To become a member of a crew you've got to be one hundred per cent Italian so they can trace all your relatives back to the old country. See, it's the highest honor they can give you. It means you belong to a family and crew. It means that nobody can fuck around with you. It also means you could fuck around with anybody just as long as they aren't also a member. It's like a license to steal. It's a license to do anything. As far as Jimmy was concerned with Tommy being made, it was like we were all being made. We would now have one of our own as a member."

"[about Tommy's murder] It was revenge for Billy Batts, and a lot of other things. And there was nothing that we could do about it. Batts was a made man and Tommy wasn't. And we had to sit still and take it. It was among the Italians. It was real greaseball shit. They even shot Tommy in the face so his mother couldn't give him an open coffin at the funeral."

"For a second, I thought I was dead, but when I heard all the noise I knew they were cops. Only cops talk that way. If they had been wiseguys, I wouldn't have heard a thing. I would've been dead."

"If you're part of a crew, nobody ever tells you that they're going to kill you. It doesn't happen that way. There weren't any arguments or curses like in the movies. So your murderers come with smiles. They come as your friends, the people who have cared for you all of your life, and they always seem to come at a time when you're at your weakest and most in need of their help."

"It was easy for all of us to disappear. My house and cars were either registered in the name of my wife or my mother-in-law. My driver's license and social security number were phony. I never voted; never paid taxes. My birth certificate, arrest sheet, and my service record from the Army were all that existed to prove to the government I was ever alive."

"See, the hardest thing for me was leaving the life. I still love the life. And we were treated like movie stars with muscle. We had it all, just for the asking. Our wives, mothers, kids, everybody rode along. I had paper bags filled with jewelry stashed in the kitchen. I had a sugar bowl full of coke next to the bed. Anything I wanted was a phone call away. Free cars. The keys to a dozen hideout flats all over the city. I'd bet twenty, thirty grand over a weekend and then I'd either blow the winnings in a week or go to the sharks to pay back the bookies. Didn't matter. It didn't mean anything. When I was broke I would go out and rob some more. We ran everything. We paid off cops. We paid off lawyers. We paid off judges. Everybody had their hands out. Everything was for the taking. And now it's all over. And that's the hardest part. Today, everything is different. There's no action. I have to wait around like everyone else. Can't even get decent food. Right after I got here, I ordered some spaghetti with marinara sauce and I got egg noodles and ketchup. I'm an average nobody. I get to live the rest of my life like a schnook."

"One night, Bobby Vinton sent us champagne. There was nothing like it. I didn't think there was anything strange in any of this. You know, a twenty-one-year-old kid with such connections. He was an exciting guy. He was really nice. He introduced me to everybody. Everybody wanted to be nice to him. And he knew how to handle it."

"I know there are women, like my best friends, who would have gotten out of there the minute their boyfriend gave them a gun to hide. But I didn't. I gotta admit the truth. It turned me on."

"It was like he had two families. The first time I was introduced to all of them at once, it was crazy. Paulie and his brothers had lots of sons and nephews and almost all of them were named Peter or Paul. It was unbelievable. There must have been two dozen Peter’s and Paul’s at the wedding. Plus they were all married to girls named Marie. And they named all their daughter’s Marie. By the time I finished meeting everybody, I thought I was drunk!"

"Well, we weren't married to nine-to-five guys, but the first time I realized how different was when Mickey had a hostess party. They had bad skin and wore too much make-up. I mean, they didn't look very good. They looked beat-up. And the stuff they wore was thrown together and cheap. A lot of pant suits and double knits. And they talked about how rotten their kids were and about beating them with broom handles and leather belts. But that the kids still didn't pay any attention...After a while, it got to be all normal. None of it seemed like crimes. It was more like Henry was enterprising and that he and the guys were making a few bucks hustling, while the other guys were sitting on their asses waiting for hand-outs. Our husbands weren't brain surgeons. They were blue-collar guys. The only way they could make extra money, real extra money, was to go out and cut a few corners...We were all so very close. I mean, there were never any outsiders around. Absolutely never. And being together all the time made everything seem all the more normal."

"We always did everything together and we always were in the same crowd. Anniversaries, christenings. We only went to each other's houses. The women played cards, and when the kids were born, Mickey and Jimmy were always the first at the hospital. And when we went to the Islands or Vegas to vacation, we always went together. No outsiders, ever. It got to be normal. It got to where I was even proud that I had the kind of husband who was willing to go out and risk his neck just to get us the little extras."

"But still I couldn't hurt him. How could I hurt him? I couldn't even bring myself to leave him. The truth was that no matter how bad I felt I was still very attracted to him. Why should I give him to someone else? Why should she win?"

"Three Decades of Life in the Mafia."

""As far back as I can remember, I've always wanted to be a gangster."—Henry Hill, Brooklyn, N.Y. 1955."

"Murderers come with smiles."

"Shooting people was 'No big deal'."

"In a world that's powered by violence, on the streets where the violent have power, a new generation carries on an old tradition."

"Robert De Niro - Jimmy Conway"

"Ray Liotta - Henry Hill"

"Joe Pesci - Tommy DeVito"

"Lorraine Bracco - Karen Hill"

"Paul Sorvino - Paul Cicero"

"Chuck Low - Morris 'Morrie' Kessler"

"Christopher Serrone - Young Henry Hill"

"Frank Sivero - Frankie Carbone"

"Tony Darrow - Sonny Bunz"

"Frank Vincent - Billy Batts"

"Frank Adonis - Anthony Stabile"

"Catherine Scorsese - Mrs. DeVito, Tommy's Mother"

"Gina Mastrogiacomo - Janice Rossi"

"Suzanne Shepherd - Karen's Mother"

"Debi Mazar - Sandy"

"Kevin Corrigan - Michael Hill"

"Charles Scorsese - Vinnie"

"Michael Imperioli - Spider"

"Tony Sirico - Tony Stacks"

"Samuel L. Jackson - Stacks Edwards"

"Vincent Pastore - Man with Coat Rack"

"Ray DeBenedictis - "Pete""

"Jerry Vale - Himself"

"Henny Youngman - Himself"

"I remember those cheers They still ring in my ears And for years they'll remain in my thoughts. Cuz one night I took off my robe And what'd I do? I forgot to wear shorts. I recall every fall, every hook, every jab; The worst way a guy could get rid of his flab. As you know, my life wasn't drab... Though I'd rather hear you cheer, When I delve into Shakespeare. "A Horse, a Horse, my Kingdom for a Horse," I haven't had a winner in six months. I know I'm no Olivier But if he fought Sugar Ray, He would say That the thing ain't the ring, It's the play. So gimme a stage Where this bull here can rage. And though I can fight, I'd much rather recite That's entertainment! That's entertainment.."

"Friends. They're in a huddle. Big business meeting. By the pool, they sit around and talk. Big deals. They make sure she can hear. Big Man. Get the fuck outta here. Big shot. Get 'em all in a back room, smack 'em around, no more big shot, without his gun. They're tough guys. They're all tough guys....Big Shot."

"[to Vickie] You know how beautiful you are? Anybody ever tell you how beautiful? Yeah, tell you all the time."

"[to Vickie] You ever think of anyone else when we're in bed?...You know, like when we made love?"

"Who's an animal? Your mother's an animal, ya son of a bitch."

"I'm gonna win. There's no way I'm goin' down. I don't go down for nobody."

"I take the dive. What more do they want?...They want me to go down too? Well, I ain't goin' down, no, not for nobody."

"[After being beaten half to death by Sugar Ray Robinson, Jake is still standing.] Hey, Ray, I never went down, man! You never got me down, Ray! You hear me, you never got me down."

"It's over for me. Boxing's over for me. I'm through. I'm tired of worryin' about weight all the time. That's all I used to think about was weight, weight, weight. After a while, you know, you realize other things in life. I mean, I'm very grateful. Boxing's been good to me: I've got a nice house, I've got three great kids, I've got a wonderful, beautiful wife - what more could I ask for?"

"That's the kind of girl that you want to bring home to your father - especially if he's a degenerate. Ah, seriously folks, it's a thrill to be standing here before you wonderful people tonight. Well, in fact, it's a thrill to be standing."

"That reminds me of two friends of mines. One was married, one was single. The married guy tells the single guy: 'Oh, what's the matter with you? What's the matter with you? Look at me. And look at you. And look at me. And look at you. Let me get on with it. When I come home at night, my wife's at the door with a tall drink in her hand. And she gives me a nice hot bath. Then she gives me a nice rub-down. Then she makes passionate love to me. Then she makes me a nice dinner. What more could you ask for? You oughta try that.' The other friend says: 'Hey, that sounds great. When does your wife get home?'"

"Why? Why? Why?...Why'd you do it? Why? You're so stupid...I'm not an animal. Why do you treat me like this? I'm not so bad."

"Guy comes home, finds his wife in bed with another guy. The wife says, 'Look who's here. Big mouth. Now the whole neighborhood'll know.'"

"[Last lines, to himself] Go get 'em, champ. I'm da boss, I'm da boss, I'm da boss, I'm da boss, I'm da boss... I'm da boss, I'm da boss, I'm da boss, I'm da boss, I'm da boss, I'm da boss."

"What are ya thinkin' about? Ya keep lookin'. Where the fuck you going? You're dead! You're married! You're a married man, it's all over. Leave the young girls for me."

"[on the phone, not realizing it's his brother Jake who's called him] Salvy, this ain't funny anymore. Is it you? I know somebody's there. I can hear you breathin'. You listenin'? Your mother sucks fuckin' big fuckin' elephant dicks. You got that?"

"He gave you the old good news/bad news routine. The good news is - you're gonna get the shot at the title. And the bad news is - they want ya to do the old flip-flop for 'em."

"Irma: I'm not gonna be here when you get back, you fuckin' bunch of guineas, you're always hangin' out together. Why don't you fuckin' stop? You're not goin' on business. You're gonna suck each other off, right? Suck 'em, suck 'em baby. You fuckin' queer. Faggot."

"Tommy Como: [After Janiro fight] He ain't pretty no more."

"Vickie: [to Jake] I fucked all of them! What do you want me to say?...I fucked all of them - Tommy, Salvy, your brother! All of them! I sucked your brother's cock, what do you want me to say?...I sucked his cock and everybody else on the fucking street, too. What do you want? You're nothin' but a fat pig, selfish fool! [Jake viciously slaps her again] His fucking cock is bigger than yours, too!"

"Robert De Niro — Jake LaMotta"

"Joe Pesci — Joey LaMotta"

"Cathy Moriarty - Vickie Thailer"

"Lori Anne Flax — Irma"

"Nicholas Colasanto — Tommy Como"

"Frank Vincent - Salvy Batts"

"Boy, you are just hittin' on all six cylinders aren't'cha? My God. Would you do me a favor and just...? Would you just smile for me one time, just once? Yeah, yeah, see you got a short upper lip...makes for a much nicer smile. See I wonder what gives a beautiful woman like you pleasure. I mean say you're just standing there, right and I- I just touch you. Just like this... see my fingertips. I mean, do you like that? Do you? See, I wanna learn what pleases you. I wanna learn everything about you. Would you let me do that? Would you give me that job?"

"Tell Jimmy I want ten chocolate chip cookies, medium chips, none too close to the outside."

"She'll go faster."

"The XF-11! She's a spy-plane really. Designed every inch of her myself. She's got a top speed of 350 which means she can outrun anything they throw against her. Yeah, after the Japs stole my H-1 design for their goddamn Zeroes I figure I'd better do 'em one better. Yeah, she's my Buck Rogers ship."

"I'm Howard Hughes, the aviator."

"(In front of the Motion Picture Censorship Board) Good to see you, Mr. Breen. Gentlemen, it's good to see you- I haven't seen you all since that issue with all the violence in Scarface. The problem here seems to revolve around Ms. Russell's mammaries, is that correct? Mr. Breen feels that they are too prominant, yes? More prominant than other mammaries have been up on the screen? Well... we hope to dispel that notion. Jean Harlow. Ann Sheridan. Irene Dunne. Claudette Colbert, Rita Hayworth, Bettie Grable... and the lovely Ms. Jane Russell. Now all of these photos- save for Ms. Russell's- have been enlarged from pictures that received Mr. Breen's seal of approval... and as you can see they all contain mammaries. At this point I'd like to introduce my assisstant, Dr. Ludlow Branson. Dr. Branson is a mathematician of some note...yes. And he will prove that, in fact, Ms. Russell's mammaries are no more prominant than any of these other fine ladies. Doctor? Doctor... you forgot your calipers."

"Quarantine. Q-u-a-r-a-n-t-i-n-e. Quarantine."

"Sh- Show me all the blueprints, Odie. Show me all the blueprints... (Lower) Show me all the blueprints. I'm serious now- show me all the blueprints... ... ... Show me all the bl- Show me all the blueprints. Show me all the blueprints. Show me all the blueprints show me all the blueprints. Show me all the blueprints. (clears throat) I wanna get it done right so show me all the blueprints. Show me all the blueprints. Show me all the blueprints show me all the blueprints."

"Orange juice has... nutritional value. There's some... flies... outside the window. Little Howard likes... citrus. Don't he just."

"Tell Juan Trippe something for me. Tell him thanks for the flowers. And he can kiss... both sides... of my ass."

"I sleep...in this room...in the dark. I have a place I can sleep. I have a chair. That's just beautiful. Oh, yeah. I like the desert. It's hot there in the desert, but it's clean. It's clean. I need to sleep. I should drink something first. I should have some... some milk. Wait a minute... what if that milk is sour? That milk is bad I shouldn't pick up the bottle with my right hand. And I shouldn't take the top off with my left...put it in my pocket. My left pocket."

"I'm afraid you don't know how the aviation business works, Senator. See, wining and dining Air Force dignitaries is common in our business. It's because we all want the big contracts. All the major aircraft companies do it. I don't know whether it's a good system, I just know it is not illegal. You, Senator, you are the lawmaker. If you pass a law that states no one can entertain Air Force officers, well, hell! I'd be happy to abide by it!"

"I am supposed to be many things that are not complimentary. I am supposed to be capricious, I have been called a playboy, I have even been called an eccentric. But I do not believe I have the reputation of being a liar. Now, needless to say, the Hercules was a monumental undertaking; it is the largest plane ever built. It is over five stories tall with a wingspan longer than a football field, that is more than a city block! Now I put the sweat of my life into this thing, I got my reputation all rolled up in it, and I have stated several times that if the Hercules fails to fly, I will leave this country and never come back... and I mean it! Now, Senator Brewster, you can subpoena me, you can arrest me, you can even claim that I have folded and taken a run-out powder, but, well, I have had just about enough of this nonsense! Good day!"

"[to Katharine Hepburn] You come out of the blue and tell me you’re leavin' me and have you have the nerve to expect graciousness?!"

"The way of the future. The way of the future. The way of the future. The way of the future. The way of the future."

"Do your worst, Mr. Hughes!"

"You see, Howard, we're not like everyone else. Too many acute angles. Too many... eccentricities. We have to be very careful not to let people in or they'll make us into freaks."

"Ha! Men can't be friends with women. They must possess them or leave them be. It's a primitive urge from caveman days. It's all in Darwin: Hunt the flesh, kill the flesh, eat the flesh. That's the male sex all over."

"Can't you eat ice cream out of a bowl like everyone else in the world?!"

"There's too much Howard Hughes in Howard Hughes. That's the trouble."

"Now, it's been a great ride. We've had a hell of a lot of fun. But you're losing $25,000 a day doing this. Every day."

"Now I'm glad Jack is feeling so sunny about this, but I've seen the books. Now, I'm not just crying wolf this time; we're in serious trouble! You've gotta make a choice. You want to be bankrupted by the big plane or by the big airline?"

"You just placed the largest order for planes in the history of the damned planet, Howard!"

"Some men dream the future. He built it."

"For some men, the sky was the limit. For him, it was just the beginning."

"Imagine a life without limits."

"Leonardo DiCaprio — Howard Hughes"

"Cate Blanchett — Katharine Hepburn"

"Kate Beckinsale — Ava Gardner"

"John C. Reilly — Noah Dietrich"

"Alec Baldwin - Juan Trippe"

"Alan Alda - Sen. Ralph Owen Brewster"

"Ian Holm - Professor Fitz"

"Matt Ross - Glenn Odekerk"

"Danny Huston - Jack Frye"

"Adam Scott - Johnny Meyer"

"Gwen Stefani - Jean Harlow"

"Jude Law - Errol Flynn"

"The feeling begins. Very tender, very loving. Then the pain starts. Claws slip underneath the skin and tear their way up. Just before they reach my eyes, they dig in. And I remember. First I fasted for three months. I even whipped myself before I went to sleep. At first it worked. Then the pain came back. And the voices. They call me by name. Jesus."

"God loves me. I know he loves me. I want him to stop! I make crosses so he'll hate me so he'll find another! I want to crucify every one of his messiahs."

"You think God belongs only to you? He doesn't. God is an immortal spirit who belongs to everybody, to the whole world. You think you're special? God is not an Israelite."

"Today and tomorrow I cast out demons and work cures. On the third day, I will be perfected."

"If I was a woodcutter, I'd cut. If I was a fire, I'd burn. But I'm a heart and I love. That's the only thing I can do."

"In the desert, the baptist warned us, God is coming. Well, I'm telling you it's too late! He's already here. I'm here! And I'm going to baptize everybody... with fire!"

"[drawing a circle in the earth while he speaks to God] I'm not going to leave this circle, I'm not going to leave until you speak to me. No signs, no pain, just speak to me in human words. Whatever path you want, I'll take. Love, or the axe, or anything else. Now if you want me to stay here and die, I'll do that too, but you have to tell me."

"[stares at the heavens] Father, will you listen to me? Are you still there? Will you listen to a selfish, unfaithful son? I fought you when you called, I resisted! I thought of no more. I didn't want to be your son! Can you forgive me? I didn't fight hard enough. Father, give me Your hand. I want to bring salvation! Father, take me back! Make a feast! Welcome me home! I want to be Your son! I want to pay the price! I want to be crucified and rise again! I want to be the Messiah!"

"[to Jesus in the World without the Crucifixion] You see, you don't know how much people need God. You don't know how happy He can make them. He can make them happy to do anything. Make them happy to die, and they'll die, all for the sake of Christ. Jesus Christ. Jesus of Nazareth. The Son of God. The Messiah. Not you. Not for your sake. You know, I'm glad I met you. Because now I can forget all about you. My Jesus is much more important and much more powerful. Thank you, it's a good thing I met you."

"In Last Temptation, I'm playing a Jesus, not the Jesus. If I'm thinking I'm playing the Jesus, I don't know where to begin."

"If in secular Europe, the pope speaks out against the Scorsese film on Jesus' temptations, without even trying to pressure governments to ban it, the European secularist press, as if to pre-empt any suggestion of a ban, makes it quite clear that there can be no question of anyhow restricting the public's access to the film. If people don't want to see it, let them not go see it. That is their freedom, like it is other people's freedom to go see it, unimpeded by papal or governmental bans... In Europe, we have come to protect our constitutional freedoms, and hardly any bigot will even think of either seriously campaigning for a ban or using violence to punish people who show interest in the material to which he objects. All right, there was a bomb attack on a movie theater showing the Temptation film. But the culprit was simply caught and put in jail. Nobody has suggested that we should ban the film in order to avert violence. If at all there is a threat of violence, then there are no two opinions about the duty of the state to uphold the constitutional freedoms, and to prevent terror-mongers from dictating who can see what."

"Willem Dafoe - Jesus"

"Harvey Keitel - Judas Iscariot"

"Steve Shill - Centurion"

"Verna Bloom - Mary, mother of Jesus (final film role)"

"Barbara Hershey - Mary Magdalene"

"Roberts Blossom - Aged Master"

"Barry Miller - Jerobeam"

"Gary Basaraba - Andrew"

"Irvin Kershner - Zebedee"

"Victor Argo - Peter"

"Paul Herman - Philip"

"John Lurie - James"

"Leo Burmester - Nathaniel"

"Andre Gregory - John the Baptist"

"Alan Rosenberg - Thomas"

"Nehemiah Persoff - Rabbi"

"Harry Dean Stanton - Saul/Paul of Tarsus"

"Peter Berling - Beggar"

"David Bowie - Pontius Pilate"

"Leo Marks - Voice of Satan"

"I don't want to be a product of my environment. I want my environment to be a product of me. Years ago we had the church. That was only a way of saying - we had each other. The Knights of Columbus were real head-breakers; true guineas. They took over their piece of the city. Twenty years after an Irishman couldn't get a fucking job, we had the presidency. May he rest in peace. That's what the niggers don't realize. If I got one thing against the black chappies, it's this - no one gives it to you. You have to take it."

"When you decide to be something, you can be it. That's what they don't tell you in the church. When I was your age they would say we can become cops, or criminals. Today, what I'm saying to you is this: when you're facing a loaded gun, what's the difference?"

"The cops are saying he's a cop. So I won't look for the cop. Are you soft, Fitzy? When I tell you to dump a body in the marsh, you dump him in the marsh. Not where some guy from John Hancock goes every Thursday TO GET A FUCKING BLOWJOB! [Fitzy laughs, Frank hits him with his hat] DON'T LAUGH! THIS AIN'T REALITY TV!!!"

"[to Colin] One of us had to die. With me, it tends to be the other guy."

"[Gives Billy a cellphone] Now, whenever you make a call, ask for Mikey. MIKEY! Heh...you ask for a Mikey, because there is no Mikey."

"[to Madolyn] If we're not gonna make it, it's gotta be you that gets out, cause I'm not capable. I'm fucking Irish, I'll deal with something being wrong for the rest of my life."

"[to Colin Sullivan] Marriage is an important part of getting ahead. It lets people know you're not a homo. A married guy seems more stable. People see the ring, they think 'at least somebody can stand the son of a bitch.' Ladies see the ring, they know immediately that you must have some cash, and your cock must work."

"Please tell me those cars aren't empty. I mean, Jesus fucking Christ, please tell me that those Chinamen's cars AREN'T EMPTY!!"

"[after punching a computer technician] YOU FUCKED THIS WHOLE THING UP!!!! WHAT THE FUCK DID YOU DO, YOU COCKSUCKER?!?!?! LET GO OF ME!!!! I'M GONNA RIP YOUR ARM OFF AND SHOVE IT UP YOUR FUCKING ASS, YOU HEAR ME?!?!?!"

"Most people wouldn't trust anybody with an immaculate record. I do. I got an immaculate record."

"Lies. Betrayal. Sacrifice. How far will you take it?"

"Underhanded"

"Undercover"

"Unrestrained"

"Cops or Criminals. When you're facing a loaded gun, what's the difference?"

"Loyalty is a lie."

"Leonardo DiCaprio - Billy Costigan"

"Matt Damon - Colin Sullivan"

"Jack Nicholson - Frank Costello"

"Mark Wahlberg - Dignam"

"Martin Sheen - Oliver Queenan"

"Ray Winstone - Mr. French"

"Vera Farmiga - Madolyn"

"Anthony Anderson - Brown"

"Alec Baldwin - Ellerby"

"Kevin Corrigan - Cousin Sean"

"Tracey Paleo - Darlene the Secretary"

"[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"

"When you love someone, you've gotta trust them. There's no other way. You've got to give them the key to everything that's yours. Otherwise, what's the point? And for a while, I believed that's the kind of love I had."

"No matter how big a guy might be, Nicky would take him on. You beat Nicky with fists, he comes back with a bat. You beat him with a knife, he comes back with a gun. And you beat him with a gun, you better kill him, because he’ll keep coming back and back until one of you is dead."

"In the casino, the cardinal rule is to keep them playing and keep them coming back. The longer they play, the more they lose. In the end, we get it all."

"[voice over, while observing a blackjack cheat] You can spot these assholes by watching the way they bet. Like this guy. He's betting lavender chips at five hundred each with only one little problem: He's always guessed right. If he wasn't so fuckin' greedy, he'd have been tougher to spot. But in the end, they're all greedy."

"[To a cheater, after casino thugs have broken his accomplice's hand with a hammer] Alright, I'm going to give you a choice: You can either have the money and the hammer, or you can walk out of here. You can't have both."

"In Vegas, everybody's gotta watch everybody else. Since the players are looking to beat the casino, the dealers are watching the players. The boxmen are watching the dealers. The floormen are watching the boxmen. The pit bosses are watching the floormen. The shift bosses are watching the pit bosses. The casino manager is watching the shift bosses. I'm watching the casino manager. And the eye in the sky [the CCTV cameras] is watching us all."

"We all have a past! You have a past, I have a past, and my past is no worse than yours, but you guys think you have the right to pass judgment on me!"

"Meeting in the middle of the desert always made me nervous. It's a scary place. I knew about the holes in the desert, of course, and everywhere I looked, there could have been a hole. Normally, my prospects of coming back alive from a meeting with Nicky were 99 out of 100. But this time, when I heard him say "a couple of hundred yards down the road," I gave myself 50/50."

"[to Ginger, about her and Lester planning to run away with Amy] Yeah, but I've been told that before, "We're working it out." You think that you're home... after what you just put me through with Amy, is a favor to me? So, counting the watch, let's say another four thousand for expenses over the weekend... of which you must have had a good time. I know he did. That's for sure. I know that... fuckin' piece of shit had a good fuckin' time. On my money. You might as well have fucked him, which you probably did anyway. (Ginger glares at him) You're lookin' at me a certain way. You - you're teary-eyed, huh? You're upset. You're a good actress, you know that? Good fuckin' actress. You can fuckin' get that pity out of people. I'm not a john, you understand? You always thought I was, but I'm not. And I'm not a sucker. That fuckin' pimp cocksucker. He's lucky I didn't kill him last time. Lucky he's fuckin' livin'. And if you would've stayed with Amy... and you would've ran away... you would've been fuckin' dead. Both of you. Dead. Dead."

"You wanna get rid of me? Here I am. Go ahead, get rid of me."

"After all the threats and all the bullshit, it turned out Ginger didn't tell 'em anything. But by then, the Feds didn't need her, anyway. They had all the pieces they needed. And everybody began to tumble, one after the other... just like dominoes. Between Piscano complaining on a wire. Between Nicky, Ginger, me and my license... paradise... we managed to really fuck it all up."

"After Ginger took off, she wasn't much help to anybody. She found some pimps, lowlifes, druggies and bikers in L.A.. And in a few months, they went through all the money and all the jewels. After they found her body, I hired a private doctor to do another autopsy. He said they gave her a hot dose. In the end, all she had left was $3,600 in mint-condition coins."

"No matter what the feds or the papers might have said about my car-bombing, it was amateur night - and you could tell. Whoever it was, they put the dynamite under the passenger side. But what they didn't know - what nobody outside the factory knew - was that that model car was made with a metal plate under the driver's seat. It's the only thing that saved my life. The bombing was never authorized, but I suspect I know who lit the fuse. [cut to Nicky meeting up with his gang in the cornfield] And so did the powers that be."

"The word was out. The bosses had enough of Nicky. They had enough. How much were they gonna take? So they made an example of him and his brother. They buried them while they were still breathing. They had other ideas for me."

"The town will never be the same. After the Tangiers, the big corporations took it all over. Today, it looks like Disneyland. And while the kids play cardboard pirates, Mommy and Daddy drop the house payments and Junior's college money on the poker slots. In the old days, dealers knew your name, what you drank, what you played. Today, it's like checking into an airport, and if you order room service, you're lucky if you get it by Thursday. Today, it's all gone. You got a whale show up with four million in a suitcase, and some 25-year-old hotel school kid is gonna want his social security number. After the Teamsters got knocked out of the box, the corporations tore down practically every one of the old casinos. And where did the money come from to rebuild the pyramids? Junk bonds. But in the end, I wound up right back where I started. I could still pick winners, and I could still make money for all kinds of people back home. And why mess up a good thing? And that's that."

"Got a lot of holes in the desert. And a lot of problems are buried in those holes. Except you gotta do it right. I mean, you gotta have the hole already dug before you show up with a package in the trunk. Otherwise, you're talking about a half hour or 45 minutes of digging. And who knows who's gonna be coming along in that time? Before you know it, you gotta dig a few more holes; you could be there all fucking night!"

"[introducing Ace] He made his first bet when he was 15 years old, and he always made money. But he didn't bet like you or me. You know, having some fun with it, shit like that. He'd bet like a fucking brain surgeon. He had to know everything, this guy. He'd find the kind of inside stuff nobody else knew, and that's what he'd put his money on. Even back home, years ago, when we were first hanging out together, he'd know if the quarterback was on coke, if his girlfriend was knocked up. He'd get the wind velocity so he could judge the field goals. He even figured out the different bounce you got off the different kinds of wood they used on college basketball courts, y'know? He'd be working on this shit day and night. There was nothing about a game he was going to bet that he didn't know. Season after season, the prick was the only guaranteed winner that I ever knew, but he was so serious about it all, I don't think he ever enjoyed himself. But that's just the way he was."

"[About the bosses] These old greaseballs may not look it, but believe me, these are the men who secretly control Las Vegas, because they managed the Teamsters Union. The Teamsters Union was who you had to go to in order to borrow money to build a casino. And no one got approved for a loan from the Teamster's pension fund unless these guys in the room knew they were going to get their little suitcases."

"They had so much fucking money in there, you could build a house outta stacks of $100 bills. And the best part was that upstairs, the board of directors didn't know what the fuck was going on. I mean, to them, everything looked on the up-and-up, right? Wrong! The guys inside the counting room were all slipped in there to skim the joint dry. They'd do short counts, they'd lose fill slips. They'd even take cash right outta the drop boxes. And it was up to this guy, right here, standing in front of about 2 million dollars, to skim the cash off the top without anybody getting wise — the IRS, or anybody. Now, notice how in the count room, nobody ever seems to see anything. Somebody's always looking the other way. Now look at these guys. They look busy, right? They're counting money. Who'd want to bother them? I mean, God forbid they should make a mistake and forget to steal. Meanwhile, you're in and you're out, past the jack-off guard, who gets an extra C note a week just to watch the door. I mean, it's routine, business as usual — in, out, hello, goodbye — and that's all there is to it. Just another fat fuck, walking out of the casino with a suitcase. Now that suitcase was going straight to one place: right to Kansas City, which was as close to Las Vegas as the Midwest bosses could go without getting themselves arrested. That suitcase was all the bosses ever wanted, and they wanted it every month."

"But I knew how to keep the bosses happy. Whenever they gave me little jobs to do, you know, to send a message, I would carry things out to a tee. Like the time Tony Dogs, who's supposed to be the new maniac tough guy in town, shot up one of Remo's bars. Here's a fucking guy, kills two of Remo's guys and a poor fucking waitress who's just working on her night off of all things. I mean, this guy's just begging to be made an example of."

"[about Anthony Dogs' interrogation] To be truthful with you, I had to admire this fucking guy. He was one of the toughest Irishmen I ever met. This son-of-a-bitch was tough. For two days and two fucking nights, we beat the shit out of this guy. I mean, we even stuck ice picks in his balls. But he never talked. In the end, I had to put his fucking head in a vice."

"Listen to me, Anthony. I got your head in a fucking vice. I'll squash your fucking head like a grapefruit if you don't give me a name. Don't make me have to do this, please. Don't make me be a bad guy, come on."

"Charlie M? Charlie M?! YOU MADE ME POP YOUR FUCKING EYE OUTTA YOUR HEAD TO PROTECT THAT PIECE OF SHIT?! CHARLIE M?! YOU DUMB MOTHERFUCKER!"

"I think that you've gotten the wrong impression about me. I think, in all fairness, I should explain to you exactly what it is that I do. For instance, tomorrow morning I'll get up nice and early, take a walk down over to the bank, walk in and see and uh, if you don't have my money for me, I'll crack your fucking head wide open in front of everybody in the bank. And just about the time that I'm coming out of jail, hopefully, you'll be coming out of your coma. And guess what? I'll split your fucking head open again. 'Cause I'm fucking stupid. I don't give a fuck about jail. That's my business. That's what I do. And we know what you do, don't we, Charlie? You fuck people out of money and get away with it! Hey, you fat Irish prick, you put my fucking money to sleep! You go get my money or I'll put your fucking brain to sleep!"

"You know I'm trying to put something really big together out here. You know what I'm talking about, huh? You know! If you're acting like this now, how can I depend on you?"

"You know, I don't wanna bring this up, but you've been treating a lot of people with a lot of disrespect, even your own wife."

"[Watching the FBI plane overhead while golfing] What the fuck is this? Where's this fucking guy gonna land, in the fairway? They're fucking agents, Frankie, look at this! $100 for whoever hits the plane."

"[Chewing out Sam in the Nevada desert] You said I'm bringing heat on you?! I gotta listen to people because of your fucking shit?! You're ordering me out?! You better get your own fucking army, pal!"

"[Chewing out Sam in the Nevada desert] Get this through your head, you Jew motherfucker, you! You only exist out here because of ME! That's the only reason! Without me, you, personally - every fucking wiseguy skell around will take a piece of your fucking Jew ass! THEN where you gonna go?! You're fucking warned! Don't ever go over my fucking head again, you motherfucker, you!"

"I used to send Marino back home with a piece of what I made. Not a big piece, but what did they know? They were 1,500 miles away, and I don't know anyone who can see that far."

"[To Frank Marino, realizing how far he's gone with his affair with Ginger] I've fucked up, Frankie. I fucked up real good this time. I should never have started with this fucking broad."

"[After Andy Stone is murdered by two men as he is walking to his car] As much as they liked him, he wasn't one of us. He wasn't Italian. As far as they knew, he could've talked. Otherwise, Stoney might still be alive. The first one to skip was John Nance. He found a nice warm secluded place in Costa Rica. He thought nobody would find him there. But then his kid got nabbed by the Feds for drugs. And so, naturally, the bosses were afraid he'd come out of hiding just to save his kid and give 'em all up. So... [The same two men come behind a bleeding John Nance and shoot him in the head] But anyway they, you know, they all had to follow. Everybody went down. Before you knew it, anybody who knew anything wound up getting whacked."

"It took months for everything to calm down. But finally, my guys got out on bail and the bosses wanted me to send my brother Dominick out to Vegas. Always the dollars. Always the fucking dollars. I mean, it was still way too hot for me to even go near Vegas, so I set up a meeting with the guys way out in the sticks. I didn't want my brother to get fucked around. I mean, what's right is right. They don't give a fuck about— [Frankie hits him from behind with a baseball bat] AGH!"

"Commissioner Webb: Mr. Rothstein, you people never will understand the way it works out here. You're all just our guests, but you act like you're at home. Let me tell you something, partner: you ain't home, but that's where we're gonna send you if it harelips the Governor. Thank you for your time."

"Paige Novodor: Good evening, everyone. I'm Paige Novodor. What should've been a routine licensing hearing turned into bedlam yesterday when the flamboyant Tangiers Casino executive, Sam "Ace" Rothstein, accused the state's top gaming officials of corruption and hypocrisy. In a wild and unprecedented outburst that followed his gaming license denial, Rothstein followed several stunned commissioners into the hallway, where he continued his harangue until his own lawyers and friends urged him to leave."

"Frank Marino: [Narrating, when asked by Remo if Nicky's having an affair with Ginger] What could I say? I knew if I gave the wrong answer — I mean, Nicky, Ginger, Ace — all of 'em could wind up getting killed. Because there's one thing about these old-timers: they don't like any fucking around with the other guys' wives. It's bad for business. So I lied. Even though I knew that by lying to Gaggi, I could wind up getting killed too."

"No one stays at the top forever."

"Luck has nothing to do with the games they play."

"They had it all, they ran the show, and it was paradise...while it lasted."

"Don't Push Your Luck."

"Winner loses all."

"Robert De Niro - Sam "Ace" Rothstein"

"Sharon Stone - Ginger McKenna"

"Joe Pesci - Nicky Santoro"

"James Woods - Lester Diamond"

"Don Rickles - Billy Sherbert"

"Alan King - Andy Stone"

"Kevin Pollak - Philip Green"

"L. Q. Jones - Pat Webb"

"Dick Smothers - Senator"

"Frank Vincent - Frank Marino"

"John Bloom - Don Ward"

"Pasquale Cajano - Remo Gaggi"

"Melissa Prophet - Jennifer Santoro"

"Bill Allison - John Nance"

"Vinny Vella - Artie Piscano"

"Oscar Goodman - Himself"

"Catherine Scorsese - Piscano's mother"

"Philip Suriano - Dominick Santoro"

"Erika Von Tagen - Older Amy"

"Richard Riehle - Charlie Clark"

"Frankie Avalon - Himself"

"Steve Allen - Himself"

"Jayne Meadows - Herself"

"Jerry Vale - Himself"

"[to Jerry] Jesus, they certainly don't give you very good protection, do they? Look at you here. Who the hell is watching you? Any one of these freaks could just walk right up to you and do whatever he wants."

"[to Rita, about Marilyn Monroe] She wasn't a great actress, but she had a real gift for comedy. She died tragically, you know, alone, like so many of the world's most beautiful women. I'm going to see that doesn't happen to you, Rita."

"Every King needs a Queen, Rita. I want you to be mine."

"[on tape] Now, Jerry. Before I begin, I just want to thank you for listening to this material and for the opportunity that you've given me. You know, lots of people think that guys like you, you know, people who have made it, lose their feeling for struggling young talent such as myself. But now I know from experience that those people are just cynics, embittered by their own failure. I know, Jerry, that you're as human as the rest of us, if not more so."

"This wasn't an easy decision for me, Jerry, believe me. For one thing, I knew it meant we could never be friends again and that hurt me. It's hard to lose a friend, even one who has let you down. You always hope you can patch things up. You know, a guy like me doesn't make friends that easily. Why didn't you just listen to the tape when I asked you? Then I wouldn't have to be doing all this. Was it really too much to expect, a few minutes of your time to listen to something I'd worked on my whole life?"

"A lot of you are probably wondering why Jerry couldn't make it this evening. Well, he's tied up, and I'm the one who tied him. [laughter] You think I'm joking, but that's the only way I could break into show business—by hijacking Jerry Langford. [laughter] I'm not kidding. Right now, Jerry Langford is strapped to a bedstead somewhere in the middle of this city. [laughter] Go ahead. Laugh. But the fact is . . . I'm here. Tomorrow you'll know I wasn't kidding, and you'll think I was crazy. But I figured it this way: better to be king for a night than schmuck for a lifetime!"

"[to Pupkin, about Langford] All of a sudden, with a gun on him, he wants to make up and be friends. And, once he's out the door, what happens then?"

"[to Langford] I've got so much to tell you I just don't know what to begin with. Are you okay? [Langford mumbles, as he is bound and gagged] Good. Tell me if you're not. I guess you're wondering why I do stuff like this. I think it's because I'm a Leo, but my shrink says I'm pathologically rebellious and self-destructive. You don't think I'm self-destructive, do you? [Langford mumbles again] I knew you wouldn't. That's 'cause you're the only person in the world who really understands me."

"Rita Keane: [to Pupkin] You call me up all junior and senior year. Night after night after night, right? And every time I'm wondering 'when is this guy going to stop talking and ask me out?' Well, now I know the answer. August twelfth, nineteen seventy-six. It only took you ten, eleven years to work up to it."

"Official: We are met here in these extraordinary circumstances to join this man and this woman in holy wedlock. But, before we begin, let me voice a personal word of thanks to you, Rupert and to you, Rita, for choosing me to perform this prestigious ceremony. Because we are on prime time, I am going to discard my customary remarks in favor of a few personal reflections. When I was principal at Clifton High and these two were students, I had very little faith that Rupert here would amount to very much. But like his teachers and his fellow students, I underestimated this fine young man. Some say that this misjudgment is directly tied to my recent dismissal as head of the Clifton School System. But let me take this opportunity to set the record straight. Knowing that Rupert and Rita here were most certainly destined for a great career and a lifetime of happiness, I voluntarily stepped down. I would only here add my own wishes to those of millions of viewers for their continued health, wealth and boundless success. We'll be back to marry them in a minute, right after this word."

"Wilson Crockett: I just don't buy the idea that there are that many people out there crazy enough to spend their lives in prison for a few minutes on television."

"It's no laughing matter."

"Nobody knows Rupert Pupkin, but after 11:30 tonight no one will ever forget him."

"Robert De Niro - Rupert Pupkin"

"Jerry Lewis - Jerry Langford"

"Diahnne Abbott - Rita Keane"

"Sandra Bernhard - Masha"

"Shelley Hack - Cathy Long"

"Ed Herlihy - Himself"

"Lou Brown - Band leader"

"It's a funny feeling being taken under the wing of a dragon. It's warmer than you'd think."

"When you kill a king, you don't stab him in the dark. You kill him where the entire court can watch him die."

"You know there's more of us coming off those boats everyday? Some say 15,000 Irish a week! Get all of us together and we ain't got a gang, we got an army!"

"The past is a torch that lights our way. Where our fathers have shown us the path, we shall follow. Our faith is the weapon most feared by our enemies. For thereby shall we lift our people up against those who would destroy us."

"Our name is called "The Dead Rabbits" to remind all of our suffering, and as a call to those who suffer still to join our ranks. However far they may have strayed from our common home across the sea. For with great numbers must come great strength in the salvation of our people."

"In the end, they put candles on the bodies so's their friends, if they had any, could know them in the dark. The city did this free of charge. Shang, Jimmy Spoils, Hell-cat, McGloin, and more. Friend or foe, didn't make no difference now. It was four days and nights before the worst of the mob was finally put down. We never knew how many New Yorkers died that week before the city was finally delivered. My father told me we was all born of blood and tribulation, and so then too was our great city. But for those of us what lived and died in them furious days, it was like everything we knew was mildly swept away. And no matter what they did to build this city up again... for the rest of time... it would be like no one even knew we was ever here."

"Everything you see belongs to me, to one degree or another. The beggars and newsboys and quick thieves here in Paradise, the sailor dives and gin mills and blind tigers on the waterfront, the anglers and amusers, the she-hes and the Chinks. Everybody owes, everybody pays. Because that's how you stand up against the rising of the tide."

"[to Amsterdam] You get to know a lot butchering meat. We're made up of the same things - flesh and blood, tissue, organs. I love to work with pigs. The nearest thing in nature to the flesh of a man is the flesh of a pig...This is the liver. The kidneys. The heart. This is a wound—the stomach will bleed and bleed. [stabs the pig] This is a kill. [stabs the pig] This is a kill. Main artery. [stabs the pig] This is a kill."

"[to Boss Tweed] Mulberry Street... and Worth... Cross and Orange... and Little Water. Each of the Five Points is a finger. When I close my hand it becomes a fist. And, anytime that I wish, I can turn it against you."

"[to Boss Tweed] I don't see no Americans. I see trespassers, Irish harps. Do a job for a nickel what a nigger does for a dime & what a white man used to get a quarter for."

"My father gave his life, making this country what it is. Murdered by the British with all of his men on the twenty-fifth of July, anno domini, 1814. Do you think I'm going to help you befoul his legacy, by giving this country over to them what's had no hand in the fighting for it? Why, because they come off a boat crawling with lice and begging you for soup?"

"Ears and noses will be the trophies of the day."

"We hold in our hearts the memory of our fallen brothers whose blood stains the very streets we walk today. Also on this night we pay tribute to the leader of our enemies, an honorable man, who crossed over bravely, fighting for what he believed in. To defeat my enemy, I extinguish his life, and consume him as I consume these flames. In honor of Priest Vallon."

"On the Seventh Day the Lord rested, but befores that he did, he took a squat over the side of England and what came out of him... was Ireland. [To Amsterdam] No offense son."

"You see this knife? I'm gonna teach you to speak English with this fucking knife!"

"The appearance of law must be upheld, especially while it's being broken."

"Remember the first rule of politics. The ballots don't make the results, the counters make the results. The counters. Keep counting."

"GO BACK TO AFRICA, NIGGER! GO BACK TO AFRICAAAAA!!!!!!"

"NO NIG-NOGGERY HERE!!!! NO--"

"THIS SHOW AIN'T FOR BLACKIES!!!"

"What's that *NIGGER* DOING IN THIS CHURCH?!"

"There's no niggers among the Natives! Niggers and Rabbits is one thing! BUT A NIGGER IN THE CHURCH, THAT'S SOMETHING ELESE!"

"You're gonna end up on a stake like your man did! GYUUUUURRGH!"

"Father! Jesus, did you know there's NIGGER IN YOUR CHURCH?!"

"I've got forty-four notches on my club. Do you know what they're for? They're to remind me what I owe God when I die. My father was killed in battle, too. In Ireland, in the streets, fighting those who would take as their privilege what could only be got and held by the decimation of a race. That war is a thousand years old and more. We never expected it to follow us here. It didn't. It was waiting for us when we landed. Your father tried to carve out a corner of this land for his tribe. That was him, that was his dead rabbits. I often wondered... if he had lived a bit longer, would he have wanted a bit more?"

"A glorious resurrection will spring from the depths... to which these miserable creatures have fallen. In God, they will find their true home."

"Leonardo DiCaprio - Amsterdam Vallon"

"Daniel Day-Lewis - Bill 'The Butcher' Cutting"

"Cameron Diaz - Jenny Everdeane"

"Jim Broadbent - Boss Tweed"

"John C. Reilly - Happy Jack"

"Henry Thomas - Johnny Sirocco"

"Liam Neeson - 'Priest' Vallon"

"Brendan Gleeson - Walter 'Monk' McGinn"

"Gary Lewis - McGloin"

"Stephen Graham - Shang"

"Eddie Marsan - Killoran"

"Newland, you couldn't be happy if it meant being cruel. If we act any other way, I'll be making you act against what I love in you most. And I can't go back to that way of thinking. Don't you see! I can't love you unless I give you up."

"How can we be happy behind the backs of people who trust us?"

"This ain't pool. This is for bangers. Straight pool is pool. This is like hand-ball, or cribbage, or something. Straight pool, you gotta be a real surgeon to get 'em, you know? It's all finesse. Now, every thing is nine-ball, 'cause it's fast, good for T.V., good for a lot of break shots... Oh, well. What the hell. Checkers sells more than chess."

"Vincent, get in the car, this is embarrassing. You're acting like some girl who got felt up at the drive-in."

"I can always go back to whiskey; it's been very good to me. I mean, you're sitting in it, and I'm wearing it."

"Pool excellence is not about excellent pool."

"[to Carmen about Vincent] We got a racehorse here, a thoroughbred. You make him feel good, I teach him how to run!"

"Money won is twice as sweet as money earned."

"[To Carmen] I'm not your daddy, I'm not your boyfriend, so don't be playing games with me. I'm your partner."

"[To Vincent] You gotta have two things to win. You gotta have brains and you gotta have balls. Now, you got too much of one and not enough of the other."

"I think maybe the money's what's throwing you off here today."

"[To Grady Seasons] Hey, Grady, up your ass with the spot. Is that okay with you?"

"[To Vincent] You win one more game, you're gonna be humping your fist for a long time. Got that, Vincent?"

"[To Vincent] It's like a nightmare, isn't it? It just keeps getting worse and worse."

"Narrator: Nine-ball is rotation pool, the balls are pocketed in numbered order. The only ball that means anything, that wins it, is the 9. Now, the player can shoot eight trick shots in a row, blow the 9, and lose. On the other hand, the player can get the 9 in on the break, if the balls spread right, and win. Which is to say, that luck plays a part in nine-ball. But for some players, luck itself is an art."

"Orvis: You know who you got stakehorsin' here for you? This here's Fast Eddie Felson. Who the hell are you? The end of the world?"

"Paul Newman - "Fast" Eddie Felson"

"Tom Cruise - Vincent Lauria"

"Mary Elizabeth Mastrantonio - Carmen"

"Helen Shaver - Janelle"

"John Turturro - Julian"

"Bill Cobbs - Orvis"

"Robert Agins - Earl at Chalkie's"

"Alvin Anastasia - Kennedy"

"Elizabeth Bracco - Diane at Bar"

"Keith McCready - Grady Seasons"

"Grady Mathews - Dud"

"Steve Mizerak - Duke, Eddie's First Opponent"

"Iggy Pop - Skinny Player on Road"

"Forest Whitaker - Amos"

"I will liberate those not liberated. I will release those not released. I will relieve those unrelieved, and set living beings in nirvana. ... Thus by the virtue that has collected through all that I have done may the pain of every living creature be completely cleared away."

"They have taken away our silence."

"I see a safe journey, I see a safe return."

"Religion is poison."

"Many films have been made on Tibet, such as Bernardo Bertolucci's Little Buddha (1993) and Jean-Jacques Annaud's Seven Years in Tibet (1997). Do these films reflect reality? The Dalai Lama responds: “I can talk about Kundun (1998), the Martin Scorcese film, for which Harrison Ford and his wife came to see me. I took the opportunity to correct the errors, particularly the fact that it did not adequately depict the horrors that the Tibetan people have had to endure since 1950. In fact, Harrison Ford and his wife began to cry when I told them some of these horrors. » Since then, this great actor has become a devotee of Tibet and even managed to release Riching Geyde, a Tibetan guide arrested by the Chinese when he tried to give Western tourists information about human rights in Tibet . “This is why,” notes the Dalai Lama, “that these films, however Hollywood they may be, have allowed the world to become aware of the plight of the Tibetan people. He adds: “I actually saw Little Buddha by Bertolucci, and I really liked it, even if, as a disciple of Prince Gautama, I cannot imagine that an actor, however good he may be, can embody what the Buddha represents. But at least this film introduced Buddhism to the West – and that's great. » And he concludes with a smile: “Do you know that to counterbalance the film Kundun, which was a worldwide success, the Chinese made their own version of Kundun, which was so bad that even Chinese audiences didn't like it? ""

"I read the script and liked its simplicity, the childlike nature of it, that it wasn't a treatise on Buddhism or a historical epic in the usual sense. It's just too much to know about Tibet and China and their relationship over the past fifteen hundred years. That was all incidental. What you really dealt with was the child and the child becoming a young boy and the boy becoming a young man —his spiritual upbringing, and this incredible responsibility which he inherits and how he deals with it on the basis of nonviolence. And the concept of him escaping and taking Tibetan culture and religion with him to the rest of the world."

"Nicolas Cage as Frank Pierce"

"Patricia Arquette as Mary Burke"

"John Goodman as Larry"

"Ving Rhames as Marcus"

"Tom Sizemore as Tom Wolls"

"Marc Anthony as Noel"

"Cliff Curtis as Cy Coates"

"Mary Beth Hurt as Nurse Constance"

"Aida Turturro as Nurse Crupp"

"Phyllis Somerville as Mrs. Burke"

"Queen Latifah as Dispatcher Love (Voice Only)"

"Martin Scorsese as Dispatcher (Voice Only)"

"One City. Three Stories Tall."

"Woody Allen - Sheldon"

"Mae Questel - Mother"

"Mia Farrow - Lisa"

"George Schindler - Shandu the Magician"

"Larry David - Theater manager"

"Heather McComb - Zoë"

"Talia Shire - Charlotte"

"Giancarlo Giannini - Claudio"

"Don Novello - Hector"

"Julie Kavner - Treva"

"Nick Nolte - Lionel Dobie"

"Rosanna Arquette - Paulette"

"Steve Buscemi - Gregory Stark"

"Jesse Borrego - Reuben Toro"

"Mike Starr - Hardhat"

"James Keane - Jimmy"

"Adrien Brody - Mel"

"Chris Elliott - Robber"

"Peter Gabriel - Himself"

"Illeana Douglas - Paulette's friend"

"Deborah Harry - Blind alley girl"

"Carmine Coppola - Street musician"

"Holly Marie Combs - Costume party guest"

"Kirsten Dunst - Lisa's daughter"

"Martin Scorsese - Man having picture taken with Lionel Dobie"

"[on his knees, screaming to the heavens] What do you want from me? What have I done? I'm just a word processor, for Christ sake!"

"What if that date you thought would never end, didn't?"

"When it's after midnight in New York City, you don't have to look for love, laughter and trouble. They'll all find you."

"What is the very worst night you ever had...?"

"Griffin Dunne - Paul Hackett"

"Rosanna Arquette - Marcy Franklin"

"Teri Garr - Julie"

"John Heard - Tom Schorr"

"Catherine O'Hara - Gail"

"Linda Fiorentino - Kiki Bridges"

"Verna Bloom - June"

"Tommy Chong - Pepe"

"Cheech Marin - Neil"

"Will Patton - Horst"

"Clarence Felder - Club Berlin Bouncer"

"Dick Miller - Pete, diner waiter"

"Bronson Pinchot - Lloyd"

"[to Isabelle] I'd imagine the whole world was one big machine. Machines never come with any extra parts, you know. They always come with the exact amount they need. So I figured, if the entire world was one big machine, I couldn't be an extra part. I had to be here for some reason. And that means you have to be here for some reason too."

"Maybe that's why a broken machine always makes me a little sad, because it isn't able to do what it was meant to do... Maybe it's the same with people. If you lose your purpose... it's like you're broken."

"Listen to me! Please! Please! Listen to me! You don't understand! You have to let me go! I don't understand, why my father died! Why I'm alone! This is my only chance to work. You should understand!"

"I am Hugo!"

"If you've ever wondered where your dreams come from...you look around. This is where they're made."

"Magic tricks and illusion became my speciality. The world of imagination. My beautiful wife was my muse, my star, and we couldn't have been happier. We thought it would never end. How could it? But then the war came. And youth and hope were at an end. The world had no time for magic tricks and movie shows. The returning soldiers, having seen so much of reality, were bored by my films. Tastes had changed, but I had not changed with them. No one wanted my movies anymore. Eventually I... I couldn't pay the actors... or keep the business running, and... and so my enchanted castle fell to ruin. Everything was lost. One night, in bitter despair, I... I burned all my old sets and costumes. I was forced to sell my movies to a company that melted them down into chemicals. These chemicals were used to make shoe heels. With the little money I had from selling my films, I bought the toy booth... and there I have remained. The only thing I couldn't bring myself to destroy was my beloved automaton. So, I gave him to a museum, hoping he would find a home. But they never put him on display. And then the museum burned. It's all gone now. Everything I ever made. Nothing but ashes and fading strips of celluloid. My life has taught me one lesson, Hugo, and not the one I thought it would. Happy endings only happen in the movies."

"My friends, I address you all tonight as you truly are; wizards, mermaids, travellers, adventurers, magicians... Come and dream with me."

"Why would my key fit into your father's machine?"

"This might be an adventure, and I've never had one before - outside of books, at least."

"Once upon a time, I met a boy named Hugo Cabret. He lived in a train station. Why did he live in a train station, you might well ask. That's really what this book is going to be about. And about how this singular young man searched to hard to find a secret message from his Father, and how that message lead his way, all the way home."

"Georges, you've tried to forget the past for so long, but it has caused you nothing but unhappiness. Maybe it's time you tried to remember."

"With Hugo, Martin Scorsese has accomplished what few in Hollywood are willing to try: make a movie for adults that arrives without sex, violence, or profanity and earns a PG-rating. It's a fairy tale for mature viewers, but the airy exterior hides emotional depth."

"Hugo is unlike any other film Martin Scorsese has ever made, and yet possibly the closest to his heart: a big-budget, family epic in 3-D, and in some ways, a mirror of his own life. We feel a great artist has been given command of the tools and resources he needs to make a movie about — movies. He also makes it a fable that will be fascinating for (some, not all) children is a measure of what feeling went into it."

"Scorsese has made documentaries about great films and directors, and here he brings those skills to storytelling. We see Melies (who built the first movie studio) using fantastical sets and bizarre costumes to make films with magical visual effects ­— all of them hand-tinted, frame by frame. And as the plot makes unlikely connections, the old man is able to discover that he is not forgotten, but indeed is honored as worthy of the Pantheon."

"In Hugo, Martin Scorsese is hell-bent on bedazzling us, and Scorsese rarely doesn’t get what Scorsese wants — by any means necessary. The means in this case are to swoon over. Together with a bunch of A-plus-list artists and techies, he has crafted a deluxe, gargantuan train set of a movie in which he and his 3-D camera can whisk and whizz and zig and zag, a place where he can show off all his expensive toys and wax lyrical within the film itself on the magic of movies. Marty the film buff has built his own matrix. … this is one of those wonders of the world you need to see."

"While Hugo is clearly a family friendly film that Scorsese’s daughter could enjoy, it really is a film for all ages. … make sure you don’t miss the chance to see Hugo on a big screen. Believe it or not, the director of Taxi Driver, Raging Bull and The Departed has made family adventure for the ages."

"I think we have a responsibility, given the omnipresence of media in the lives of modern children, to not only encourage them with choices about what to watch, but also to teach them how to watch. Without context, how do you expect them to navigate the ocean of choice available to them at all times these days? Martin Scorsese has spoken at length in the press about wanting to make a movie that his 12-year-old daughter could see, and how much he loved 3-D in the '50s, and how this movie serves as, in some ways, autobiography because of his own childhood spent trapped by asthma in a private world, cut off from other kids. All of that is true, but the moment you start putting labels like "kid's film" on a movie like "Hugo," you are being reductive in your thinking, and that's missing the point entirely. … Early on, it's obvious that the film is less about the mechanical man and more about the way broken people sometimes need other people to fix them, how we can all play some part in the lives of others, sometimes without meaning to. … Hugo observes the daily life of the train station, the various people playing out all the various stories around him, never participating, trying to make sense of this world he watches. … People who think of Scorsese only in terms of crime films sell him short, and they are the ones who will miss out on this thrilling, beautiful movie that believes we each have a place and a purpose, and true peace only comes from finding it."

"Belief in magic is a huge part of Hugo‘s theme. The precocious young boy knows its impossible, but somehow feels that if he can fix the automaton, it will send him a message from his father. Hugo makes a potent argument for films being the realization of dreams, and it doesn’t shortchange its characters either. There are real moments of danger, clear consequences, and sympathetic characters all around, so when tears come at the end of the movie, they feel earned. Scorsese’s love letter to the power of cinema is itself pretty powerful stuff."

"Hugo is one of the most wondrous cinematic adventures of the 21st century. Making it even more magical this is a love letter to the films of a century ago."

"The idea of a little boy living in the walls, sliding in and out of the innards of these clocks. It’s like people living in the ceiling of Grand Central Station, looking out through the painting of stars."

"Well, “Hugo” is not really a fantasy film. It’s not a “Chronicles of Narnia” or a “Harry Potter” or “Lord of the Rings” type of fantasy. I would define that kind of fantasy as having viscerality. You’re intended to perceive events or people as very, very real. A dragon appears outside a window, and you can imagine it coming into the room, with blue flames and beautiful green emeralds for eyes."

"Asa Butterfield - Hugo Cabret"

"Ben Kingsley - Georges Méliès"

"Chloë Grace Moretz - Isabelle"

"Sacha Baron Cohen - Inspector Gustave"

"Ray Winstone - Claude Cabret"

"Jude Law - Hugo's father"

"Christopher Lee - Monsieur Labisse"

"Helen McCrory - Mama Jeanne"

"Michael Stuhlbarg - René Tabard"

"Emily Mortimer - Lisette"

"Frances de la Tour - Madame Emile"

"Richard Griffiths - Monsieur Frick"

"It's all bullshit except the pain. The pain of hell. The burn from a lighted match increased a million times. Infinite. Now, ya don't fuck around with the infinite. There's no way you do that. The pain in hell has two sides. The kind you can touch with your hand; the kind you can feel in your heart... your soul, the spiritual side. And ya know... the worst of the two is the spiritual."

"[They all raise their glasses to The Queen] You know what the Queen said? If I had balls, I'd be King."

"You know something? She is really good-lookin'. I gotta say that again. She is really good-lookin'. But she's black. You can see that real plain, right? Look, there isn't much of a difference anyway, is there. Well, is there?"

"You see, I borrow money all over this neighborhood, left and right from every BODY, I never pay them back. So, I can't borrow no money from nobody no more, right? So, who would that leave me to borrow money from but you? I borrow money from you, because you're the only jerk-off around here who I can borrow money from without payin' back, right? You know, 'cause that's what you are, that's what I think of you: a jerk-off."

"Hey, sorry lady! I'm sorry! I hate that lady with a passion... with a vengeance."

"Honorable men go with honorable men."

"[voiceover] You don't make up for your sins in church. You do it in the streets. You do it at home. The rest is bullshit and you know it."

"Martin Scorsese: It’s kind of difficult to talk about how and why [Mean Streets] was made. When I think about the film and think about the time in my life having made the film and having been, in a sense, a part of the way of life that is depicted in the film, it seems to, in my mind, be the final culmination of everything of what I was to do and who I am. In my mind, it’s not really a film — it’s a declaration or a statement of who I am and how I was living; those thoughts and dilemmas and conflicts were very much a part of my life up to that point in time. They couldn’t be expressed in any other way [other than] resulting in this movie.There is no message. It’s something that came out of me organically. The only way to express it was: camera and dialog and actors and color and music. In my mind it was a representation of who I was, my friends, and where I came from. The genesis was my life."

"Harvey Keitel - Charlie"

"Robert De Niro - Johnny Boy"

"David Proval - Tony DeVienazo"

"Amy Robinson - Teresa"

"Richard Romanus - Michael Longo"

"Cesare Danova - Giovani Cappa"

"Victor Argo - Mario"

"George Memmoli - Joey 'Clams' Scala"

"David Carradine - Drunk"

"Robert Carradine - Boy With Gun"

"How are we supposed to have a meaningful family relationship if he's always on the verge of killing you?"

"You're a very weird kid."

"I could lay under you, eat fried chicken and do a crossword puzzle at the same time, that's how much you bother me."

"You kiss me where the sun don't shine."

"Ellen Burstyn - Alice Hyatt"

"Alfred Lutter - Tommy"

"Kris Kristofferson - David"

"Billy Green Bush - Donald"

"Diane Ladd - Flo"

"Lelia Goldoni - Bea"

"Vic Tayback - Mel"

"Jodie Foster - Audrey"

"Harvey Keitel - Ben"

"Valerie Curtin - Vera"

"Harry Northup - Joe & Jim's Bartender"

"Do I look like a gentleman to you in this shirt and these pants?"

"The war was over and the world was falling in love again."

"A love story is like a song. It's beautiful while it lasts."

"Liza Minnelli - Francine Evans"

"Robert De Niro - Jimmy Doyle"

"Lionel Stander - Tony Harwell"

"Barry Primus - Paul Wilson"

"Mary Kay Place - Bernice Bennett"

"Georgie Auld - Frankie Harte"

"George Memmoli - Nicky"

"Dick Miller - Palm Club Owner"

"Clarence Clemons - Cecil Powell"

"Casey Kasem - DJ aka Midnight Bird"

"Jack Haley - Master of Ceremonies / Cameo Appearance (uncredited)"

"Adam Winkler - Jimmy Doyle Jr."