French films

"Bougez-pas ! Les mains sur la table. J'vous préviens qu'on a la puissance de feu d'un croiseur et des flingues de concours."

"Non, mais t'a déjà vu ça ? En pleine paix, il chante et puis crac, un bourre pif ! Il est complètement fou ce mec. Mais moi, les dingues, je les soigne. J'vais lui faire une ordonnance et une sévère... J'vais lui montrer qui c'est Raoul. Aux quat' coins d'Paris qu'on va l'retrouver éparpillé par petits bouts, façon Puzzle. Moi, quand on m'en fait trop j'correctionne plus : j'dynamite, j'disperse, j'ventile."

"Les cons ça ose tout ! C'est même à ça qu'on les reconnaît."

"Touche pas au grisby, salope !"

"Écoute : on te connaît pas. Mais laisse-nous te dire que tu te prépares des nuits blanches, des migraines, des nervousses brékdones comme on dit de nos jours."

"Tiens, vous avez sorti le vitriol ?"

"The rifle is the first weapon you learn how to use, because it lets you keep your distance from the client. The closer you get to being a pro, the closer you can get to the client. The knife, for example, is the last thing you learn."

"I don't give a shit about sleeping, Leon. I want love, or death. That's it."

"I hope you're not lying Leon. I really hope that deep down there's no love in you. And if there is, I think in a few minutes you'll regret you never said anything. I love you Leon."

"I was 11 years old when I first read the script; and I remember reading it, I was sitting in my dad's study sitting in his chair; and I read it and I was crying at the end. I was a very sort of emotional little kid. My parents said, there is no way you're doing this movie; this is absolutely inappropriate for a child your age to do this film. And I was like; this is the greatest thing I've ever read; you will ruin my life, and I was fighting with them so much."

"He moves without sound. Kills without emotion. Disappears without trace."

"A perfect assassin. An innocent girl. They have nothing left to lose except each other. He moves without sound. Kills without emotion. Disappears without trace. Only a 12 year old girl... knows his weakness."

"You can't stop what you can't see."

"Jean Reno - Léon"

"Gary Oldman - Norman Stansfield"

"Natalie Portman - Mathilda"

"Danny Aiello - Tony"

"Peter Appel - Malky"

"It's better to help people than garden gnomes."

"I had two heart attacks, an abortion because I smoked crack while I was pregnant. Besides that, I'm fine. [to her father, who is not paying attention]"

"Je n'aime pas dans les vieux films américains quand les conducteurs ne regardent pas la route."

"Vous au moins, vous ne risquez pas d'être un légume, puisque même un artichaut a du cœur."

"Sans toi, les émotions d'aujourd'hui ne seraient que la peau morte des émotions d'autrefois."

"Et de ratage en ratage, on s'habitue à ne jamais dépasser le stade du brouillon. La vie n'est que l'interminable répétition d'une représentation qui n'aura jamais lieu."

"C'est l'angoisse du temps qui passe qui nous fait tant parler du temps qu'il fait."

"Voilà, ma petite Amélie, vous n'avez pas des os en verre. Vous pouvez vous cogner à la vie. Si vous laissez passer cette chance, alors avec le temps, c'est votre cœur qui va devenir aussi sec et cassant que mon squelette. Alors, allez y, nom d'un chien!"

"In the apartment downstairs from Amélie lives Raymond Dufayel; they call him "The Glass Man." He was born with bones as brittle as crystal. All his furniture is padded. A handshake could crush his fingers. He's stayed inside for twenty years. Time has changed nothing."

"Nino is late. Amelie can only see two explanations. 1 - he didn't get the photo. 2 - before he could assemble it, a gang of bank robbers took him hostage. The cops gave chase. They got away... but he caused a crash. When he came to, he'd lost his memory. An ex-con picked him up, mistook him for a fugitive, and shipped him to Istanbul. There he met some Afghan raiders who took him to steal some Russian warheads. But their truck hit a mine in Tajikistan. He survived, took to the hills, and became a Mujaheddin. [Increasingly angry] Amelie refuses to get upset for a guy who'll eat borscht all his life in a hat like a tea cozy."

"In such a dead world, Amelie prefers to dream until she's old enough to leave home"

"Amelie still seeks solitude. She amuses herself with silly questions about the world below... such as, "how many couples are having an orgasm right now?""

"Eva: Les temps sont durs pour les rêveurs."

"Newsstand Woman: Une femme sans amour, c'est comme une fleur sans soleil, ça dépérit."

"Little boy: Quand le doigt montre le ciel, l' imbécile regarde le doigt"

"[Mme. Wallace is reading an old letter from her long-deceased husband.] Mme. Wallace: "When my sweet little weasel appears at the station…" Did anyone ever write you like that? Amélie: No. I'm nobody's little weasel [Je ne suis la belette de personne]."

"Jean-Pierre Jeunet's Amelie is a delicious pastry of a movie, a lighthearted fantasy in which a winsome heroine overcomes a sad childhood and grows up to bring cheer to the needful and joy to herself. You see it, and later when you think about it, you smile. Audrey Tautou, a fresh-faced waif who looks like she knows a secret and can't keep it, plays the title role, as a little girl who grows up starving for affection. Her father, a doctor, gives her no hugs or kisses and touches her only during checkups—which makes her heart beat so fast he thinks she is sickly. Her mother dies as the result of a successful suicide leap off the towers of Notre Dame, a statement which reveals less of the plot than you think it does."

"The titular heroine's search for love and meaning in Montmartre made the world fall for her and the city as viewed through her eyes. Amélie, released in 2001, is one of the UK's highest-grossing foreign language films. But 15 years later, does its director Jean-Pierre Jeunet (pictured below) think he could make the film today given the tragic events the city has faced? "This period is more cynical, especially in France," says Jeunet from his Parisian office. "Fifteen years ago I showed the film in Toronto and the day after the screening it was 9/11. I was stunned like everybody, and I thought – Amélie is finished in the USA. But it was the opposite. People need positive stories, they need something with joy, something light. "Just two days ago it was screening in a theatre in Paris packed full of young people. Everybody had seen the film before – only two people hadn't – but when you have something positive in a story, it's always a success because it's not easy to write a positive story without it being sugary like stupid American films.""

"FILMMAKER: In Amélie, you are working with locations and exteriors for the first time, but the way you've manipulated the images in postproduction "interiorizes" it all in a way. JEUNET: I tried to work outside as if I was on a stage. We modified a lot of the reality. But it was important that the film take place in the Paris of today, not in some kind of timeless dimension. For example, we changed things on the walls, got rid of graffiti, added signs. We made sure there were modern objects, ugly things in the corners of rooms. Then in postproduction, if we did not like a face in one corner, "Bye-bye people." FILMMAKER: Again, the idea of every frame like a painting. JEUNET: Yes. I hate white skies."

"Q: Why do you think Amélie resonates so well with audiences? Jeunet: We have several strong ideas in Amélie, but the main of course is the story of someone helping other people and not wanting something in return. Amélie does that for free. It's about generosity and I think especially in this crazy world we need some positive stories. Also, everything Amélie loves – like putting her hand in the grains – these small details are touching for everybody."

"Of the rapturous reception that Amélie has garnered among fans, Jeunet remembers that "when I was writing it, I was thinking 'who will be interested in this bullshit?'" but, "at the end of the film, we could feel something, it was special, there was something in the air, a buzz, you know?" Many fans feel a deep connection to the character, which he says is, "a dream for every director, every creator. Because you make something so personal and it becomes a huge success, it was a perfect win." Jeunet says that "it's difficult to understand, but there is something about generosity, Amélie doesn’t want anything in return, and I think that is one of the secrets, and it speaks about the little pleasures in life." He also attributes the post-9/11 release in the U.S. to the way in which audiences wanted to connect to a film like this."

"Audrey Tautou — Amélie Poulain"

"Mathieu Kassovitz — Nino Quincampoix"

"Rufus — Raphaël Poulain, Amélie's Father"

"Yolande Moreau — Madeleine Wallace, the Concierge"

"Arthus de Penguern — Hipolito, the Writer"

"Urbain Cancelier — Collignon, the Grocer"

"Jamel Debbouze — Lucien"

"Serge Merlin — Raymond Dufayel"

"[addressing his troops on the parade ground.] Look around you. In the Seventh Cavalry, we got a captain from the Ukraine. Another from Puerto Rico. We've got Japanese, Chinese, blacks, Hispanics, Cherokee Indians, Jews and gentiles — all Americans. Now, here in the States, some men in this unit may experience discrimination because of race or creed. But for you and me now, all that is gone. We're moving into the Valley of the Shadow of Death, where you will watch the back of the man next to you, as he will watch yours. And you won't care what color he is or by what name he calls God. They say we're leaving home. We're going to what home was always supposed to be. I can't promise that I will bring you all home alive. But this I swear before you and before Almighty God: that when we go into battle, I will be the first to set foot on the field, and I will be the last to step off. And I will leave no one behind. Dead or alive, we will all come home together. So help me God."

"Neither the new technology nor your status as officers will keep you above the danger. Sergeant Major Plumley and I come from the paratroopers, where the officer is always the first man out of the plane. Because to follow your instincts and inspire your men by your example, you have to be with them — where the metal meets the meat...Now, I hope you men like training, 'cause me and the Sergeant Major... we love it!"

"Sir, Custer was a pussy. You ain't."

"[voice-over] These are the true events of November, 1965. The Ia Drang Valley of Vietnam, a place our country does not remember in a war it does not understand. This story is a testament to the young Americans who died in the Valley of Death, and a tribute to the young men of the People's Army of Vietnam who died by our hand in that place."

"Such a tragedy. They will think this was their victory. So this will become an American war. And the end will be the same... except for the numbers who will die before we get there."

"Fathers, Brothers, Husbands & Sons."

"We were... young, brave, husbands, wives, sons, mothers, daughters, soldiers."

"400 U.S paratroopers. 4000 Vietnamese soldiers. 12 000 miles away from home. 1 man led them into battle."

"Mel Gibson - Lt. Col. Hal Moore"

"Madeleine Stowe - Julia Moore, Hal's wife"

"Greg Kinnear - Maj. Bruce "Snake" Crandall"

"Sam Elliott - Sgt. Maj. Basil Plumley"

"Chris Klein - 2nd Lt. Jack Geoghegan"

"Keri Russell - Barbara Geoghegan"

"Barry Pepper - Joe Galloway"

"Don Duong - Lt. Col. Nguyen Huu An"

"Ryan Hurst - Sgt. Ernie Savage"

"Robert Bagnell - 1st Lt. Charlie Hastings"

"Marc Blucas - 2nd Lt. Henry Herrick"

"Josh Daugherty - Sp4 Robert Ouellette"

"Jsu Garcia - Capt. Tony Nadal"

"Clark Gregg - Capt. Tom Metsker"

"Desmond Harrington - Sp4 Bill Beck"

"Blake Heron - Sp4 Galen Bungum"

"Erik MacArthur - Sp4 Russell Adams"

"Dylan Walsh - Capt. Robert Edwards"

"Josh McLaurin - Greg Moore, Hal & Julia's son"

"Devon Werkheiser - Steve Moore, Hal & Julia's son"

"Taylor Momsen - Julie Moore, Hal & Julia's daughter"

"Sloane Momsen - Cecile Moore, Hal & Julia's daughter"

"Luke Benward - David Moore, Hal & Julia's son"

"Mark McCracken - Capt. Ed "Too Tall" Freeman"

"Bellamy Young - Catherine Metsker"

"Simbi Khali - Alma Givens"

"Lyndon Johnson - himself (archive footage)"

"This is where mechanical excellence and 1,400 horsepower pays off."

"Boy, that's smooth. Smooth as shit off a duck's ass!"

"[while beating a tailgater] Don't tailgate! Don't you ever tailgate! Do you know how much space is needed to stop a car traveling at 35 miles per hour? Six car lengths! Six fuckin' car lengths! That's a hundred and six fuckin' feet, mister! If I had to stop suddenly, you woulda hit me! I want you to get a fuckin' driver's manual, and I want you to study that motherfucker! And I want you to obey the the goddamn rules of the road! Fifty-fuckin' thousand people were killed on the highways last year 'cause of fuckin' assholes like you! Tell me you're gonna get a manual!"

"You and me, mister, we can sure out-ugly them sumbitches, can't we?"

"Dick Laurent is dead..."

"- Fred Madison"

"- Renee Madison/Alice Wakefield"

"- Pete Dayton"

"- Mr. Eddy/Dick Laurent"

"- The Mystery Man"

"- Bill Dayton, Pete's father"

"Lucy Butler - Candace Dayton, Pete's mother"

"Richard Pryor - Arnie"

"- Phil, a mechanic"

"Al Garrett - Carl"

"- Steve "V""

"Henry Rollins - Guard Henry"

"as Guard Mike"

"(voice only) - Forewoman"

"Marilyn Manson and Twiggy Ramirez - porn stars"

"As Mr. Sloan always says, there is no "I" in team, but there is an "I" in pie. And there's an "i" in meat pie. Meat is the anagram of team... I don't know what he's talking about."

"[Response to David.] GET FUCKED, FOUR-EYES!"

"[Repeated line about Phillip.] He's not my dad. He's my stepdad."

"[repeated line, about his copy of Man Parrish's "Hip Hop Be-Bop"] That was the second album I ever bought!"

"[Seeing a zombie without an arm] Ohh, for God's sake! He's got an arm off!"

"How's that for a slice of fried gold?"

"[coming across zombified Pete] Ah! Sorry, Pete, sorry... listen, we're gonna borrow your car, okay, hope you don't mind and – ah – later on, if you're feeling better, w-we're going down to the pub, so you're m-more than welcome to, to... [whispered] join us.(A reference to The Evil Dead)."

"What's the matter, David? Never taken a shortcut before? (This line would be repeated in Hot Fuzz)"

"[distracting a zombie horde.] Come and get it! It's a running buffet! All you can eat!"

"(after Ed gives him a beer) Thanks Babe."

"Would anyone like... a peanut?"

"[As zombified Pete is biting Ed] PETE! I SAID, LEAVE HIM ALONE! [Shoots and kills zombified Pete.]"

"[When about to attack a zombified John] Okay, John. It's time at the bar!"

"[Ed points out that Pete is in the bar.] Fuck-a-doodle-doo!"

"[When Ed says he's sorry and Shaun smells his farts] Oh my god, that is rotten!"

"Who died and made you fucking king of the zombies?"

"[to David when he complains about the window] You did that, you twat!"

"Wa'ssup, niggas?"

"Yeeaah, boy!"

"[to Shaun as he goes to save Barbara] Don't forget to kill Phillip!"

"[repeated line.] Cock it!"

"[Indicates hand movement of sex] "Café au lait" [Moans and points at Shaun] "Pour Vous""

"[repeated line.] Two seconds."

"WE'RE COMING TO GET YOU, BARBARA! (reference to Night of the Living Dead)"

"Can I get any of you cunts a drink?"

"Oi, prick!"

"You believe everything you hear on TV?"

"Watch the leather (reference to Dazed and Confused)"

"[repeating phone messages to Shaun] Well, your mum rang about going out tonight, then Liz rang about the two of you eating out tonight, and then your mum rang back to see if I wanted to eat her out tonight."

"Who the bloody hell put this on?"

"There's a girl in the garden. [Shaun: What?] In the garden, there's a girl."

"Liz: If I don't do something, I'm going to end up going into that pub every night for the rest of my life like the rest of those sad old fuckers, drinking myself to death and wondering what the hell happened."

"Liz: PLEASE, CAN WE JUST CALM... THE FUCK... DOWN!"

"Liz: I can see what David is trying to say, even if he is being a twat!"

"Diane: [describing the appearance of a zombie.] Vacant, with a hint of sadness. Like a drunk who's lost a bet."

"Diane: [Repeated line] SHAUUUUN!"

"David: For a hero, you're quite a hypocrite!"

"David: I'm not the one being unreasonable, pickle!"

"Phillip: [On his zombie bite.] I'm perfectly alright, Barbara. I ran it under a cold tap."

"Barbara: [final words.] It's been a funny sort of day, hasn't it?"

"Various: [to Shaun, repeated line.] You've got red on you."

"Pete: [To Shaun] Sort your fucking life out, mate!"

"Pete: And the front door is open... again!"

"Pete: Fuck-a-doodle-doo!"

"Pete: It's four in the "fucking morning"!"

"Trisha Goddard: [re: a guest who still loves her undead husband.] You go to bed with it?!"

"Radio Newscaster: The Church of England has joined other extremist religious groups in proclaiming the phenomenon 'a sign of the coming apocalypse', although Downing Street is refusing to be drawn into a religious debate."

"Jeremy Thompson: [During emergency news broadcast] In extreme circumstances, the assailants can be stopped by removing the head or destroying the brain. I will repeat that: by removing the head or destroying the brain."

"Jeremy Thompson: [On 'six months on' special] It's just not something you ever expect to have to say on air: "removing the head or destroying the brain". Extraordinary."

"Television Newscaster: Reports that the infection was spread by rage-infected monkeys have now been dismissed as bull-"

"A romantic comedy. With zombies."

"Buy milk. Call mum. Dodge zombies."

"Bought milk. Called mom. Dodged zombies (American alternative)"

"Ever felt like you were surrounded by zombies?"

"This September, aim for the head."

"In a time of crisis, a hero must arise... from his sofa."

"It's just one of those days when you're feeling a little...dead."

"Simon Pegg — Shaun"

"Kate Ashfield — Liz"

"Nick Frost — Ed"

"Dylan Moran — David"

"Lucy Davis — Dianne"

"Penelope Wilton — Barbara"

"Bill Nighy — Phillip"

"Jessica Stevenson — Yvonne"

"Peter Serafinowicz — Pete"

"I don't remember the truth!"

"Get out get out you CAN'T be in here"

"You're all going to die down here."

"The T-virus is protean, changing from liquid to airborne to blood transmission, depending on its environment. It is almost impossible to kill."

"I've been a bad, bad girl..."

"A secret experiment. A deadly virus. A fatal mistake."

"Death is not the end... just pray so."

"Survive the Horror."

"I almost fucked an outlet today."

"You stupid, stupid...silly little person."

"Wait, wait. Don't go to sleep yet. We got to talk about something. [pause] Stickers. Do you like stickers?"

"Dude, you've got to tell her. Seriously. You can pass off two dates without a kiss as being old-fashioned. You go three and you're a homo."

"Do you know how many hours I spent looking for for my "Temple of Poon" tape? One. That is a long time to be looking for porn, Matt. What the fuck is going on?"

"This is a photocopy of Candy's ass? You're gonna call her, right?"

"Mandy: [describing the importance of women's power of abstinence] Women have been doing this since...the beginning. It's all part of the system. But you're taking the power and you're fucking with the system. Now, you realize that we can't let this happen, hmm?"

"Candy: [describing the typical sexuality of men] They're like animals. Their whole lives revolve around their penises."

"Jerry Anderson: I've jerked off three times since lunch and I've still got this fucking hard-on."

"One man is about to do the unthinkable. No sex. Whatsoever. For... 40 Days and 40 Nights."

"This March, sex takes a holiday."

"Josh Hartnett – Matt Sullivan"

"Shannyn Sossamon – Erica Sutton"

"Paulo Costanzo – Ryan"

"Adam Trese – John Sullivan"

"Emmanuelle Vaugier – Susie"

"Monet Mazur – Candy"

"Christine Chatelain – Andie"

"Keegan Connor Tracy – Mandy"

"I entered this world on the Champs-Elysees, 1959. La trottoir du Champs Elysees. And do you know what my very first words were? New York Herald Tribune! New York Herald Tribune!"

"Other people's parents are always nicer than our own, and yet for some reason, our grandparents are always nicer than other people's."

"My parents fucked once in their lives. That's why we're twins, they didn't want to make it twice."

"There's no such thing as love. There are only proofs of love."

"The first time I saw a movie at the cinématèque française I thought, "Only the French... only the French would house a cinema inside a palace.""

"I was one of the insatiables. The ones you'd always find sitting closest to the screen. Why do we sit so close? Maybe it was because we wanted to receive the images first. When they were still new, still fresh. Before they cleared the hurdles of the rows behind us. Before they'd been relayed back from row to row, spectator to spectator; until worn out, secondhand, the size of a postage stamp, it returned to the projectionist's cabin. Maybe, too, the screen was really a screen. It screened us... from the world."

"I don't believe in God, but if I did, he would be a black, left-handed guitarist."

"As we walked, we talked and talked and talked about politics, about movies, and about why the French could never come close to producing a good rock band."

"I think you prefer when the word "together" means not "a million," but just two."

"I could hear my heart pounding. I don't know if it was because I'd just been chased by the police or because I was already in love with my new friends."

"[Reading]. A revolution isn't a gala dinner. It cannot be created like a book, a drawing or a tapestry. It cannot unfold with such elegance, tranquility and delicacy. Or such sweetness, affability. Courtesy, restraint and generosity. A revolution is an uprising, a violent act by which one class overthrows another."

"Michael Pitt - Matthew"

"Eva Green - Isabelle"

"Louis Garrel - Théo"

"Anna Chancellor - Mother"

"Robin Renucci - Father"

"Jean-Pierre Kalfon - Himself"

"Jean-Pierre Leaud - Himself"

"Florian Cadiou - Patrick"

"Pierre Hancisse - First buff"

"Valentin Merlet - Second buff"

"Lola Peploe - The Usherette"

"Ingy Fillion - Théo's girlfriend"

"Aleksandra Kacprzak (uncredited) - Student May 1968"

"Jean-Paul Belmondo (uncredited, archive footage) - Himself"

"Henri Langlois (uncredited, archive footage) - Himself"

"François Truffaut (uncredited, archive footage) - Himself"

"A voyage beyond corporal life"

"Nicolas Cazalé - Réda"

"Mohamed Majd - The Father"

"Jacky Nercessian - Mustapha"

"Ghin Ognianova – The old woman"

"Kamel Belghazi – Khalid"

"Atik Mohamed – Le pélerin Ahmad"

"I've hated you from the first moment I married you!"

"You are a monster and a monster, in that order."

"Silence when you're shouting at me!"

"You'll like this group analysis, it's a real freak show. If it gets dull, we sing songs."

"My wife, the creature that ate Europe, is here."

"Marriage? That's for life! It's like cement!"

"Look, I know you'll think this is crazy, but, er, when the light hits me from a certain direction, I'm... handsome."

"I'll be back tomorrow. If I'm not back tomorrow, send for the police. If they're not back tomorrow, send my clothes."

"We played strip chess. She had me down to my shorts and I fainted from tension."

"I just burnt my finger! I'm going to go in the bathroom and scream. I'll be out in a minute."

"Peter Sellers - Dr. Fritz Fassbender"

"Peter O'Toole - Michael James"

"Woody Allen - Victor Skapopulis"

"Romy Schneider - Carole"

"Capucine - Renée"

"Ursula Andress - Rita"

"Paula Prentiss - Liz Bien"

"Eddra Gale - Anna Fassbender, Dr. Fassbender's wife"

"Jacques Balutin - Etienne"

"There is something about yourself that you don't know. Something that you will deny even exists, until it's too late to do anything about it. It's the only reason you get up in the morning. The only reason you suffer the shitty boss, the blood, the sweat and the tears. This is because you want people to know how good, attractive, generous, funny, wild and clever you really are. Fear or revere me, but please, think I'm special. We share an addiction. We're approval junkies. We're all in it for the slap on the back and the gold watch. The hip-hip-hoo-fuckin' rah. Look at the clever boy with the badge, polishing his trophy. Shine on you crazy diamond, because we're just monkeys wrapped in suits, begging for the approval of others."

"One thing I've learned in the last seven years: in every game and con there's always an opponent, and there's always a victim. The trick is to know when you're the latter, so you can become the former."

"[In an elevator] Now I've got to spend the next two minutes, shaking... and sweating... like a crack whore clucking for a fix... Should have taken the stairs... cause it's getting very... very tight in here."

"Oh, I know you're still there... cause I can feel you dying. I can hear you tapping me... for a little nutrition. Now who's looking for a fix? It gets a little tight in here, do you? Well, you're not wrong... cause the walls are moving in. No food here. Not today, sunshine. My eyes are open and the restaurant's closed. Jog on. Slide off. Find someone else to fill your pipe. Someone, who won't see you coming... or know, when you're there."

"Why are they dragging this on? They could just clean me out in one hit. They want me to suffer. These twisted bastards are making me pay. Pay for my own pain. Hands down, that's the most radical concept I have ever heard of......and a part of me dies everytime I think about it. I told myself if this is the last round, they'll have to tear me out, piece by piece, but this I can't take. They've found a weakness. Caught me fair and square, cross-haired, blind-folded, one foot in the grave and two hands on the coffin. I'm cooked, well done, stick a fork in me and see if I bleed. I'm stuck in a trance...somewhere between hell and a hard place...in a gear that doesn't exist, and all I want now...is a little peace."

"So how exactly did this one manage to disarm and overpower a four-time national bodybuilding champion? Drag him half a block, throw him over six-foot wall, and then fed him to his own gun?"

"Why don't you just fucking rape me, Paul?"

"You got a big mouth, on small head “Sunshine”!"

"The greatest con, that he ever pulled... was making you believe... that he is you."

"Your mind will not accept a game this big"

"Jason Statham - Jake Green"

"Roy Liotta - Dorothy Macha"

"Vincent Pastore - Zach"

"André Benjamin - Avi"

"Terrence Maynard - French Paul"

"Andrew Howard - Billy"

"Mark Strong - Sorter"

"Francesca Annis - Lily Walker"

"Anjela Lauren Smith - Doreen"

"Elana Binysh - Rachel"

"Tom Wu - Lord John"

"[echoing line from Shaun Of The Dead] What's the matter, Danny? Never taken a shortcut before?"

"This shit just got real!"

"[seeing Danny's film collection] By the power of Greyskull..."

"[after watching Point Break] I won't argue that it wasn't a no-holds-barred adrenaline-fuelled thrill-ride, but there's no way that you could perpetrate that amount of carnage and mayhem and not incur a considerable amount of paperwork."

"(whilst chasing Frank Butterman) PUNCH-THAT-SHIT!"

"[after the village doctor is shot in the foot] You're a doctor. Deal with it!"

"Sergeant Butterman, the little hand says it's time to rock and roll."

"[after stopping Danny's swan call] That's just going to scare it."

"[distracting Michael with a chunky monkey] Hey biggun'. Playtime's over."

"[after walking into Sandford with a ton of weapons and ammo on him] Morning."

"[after a farmer called Peter Ian Staker has phoned up about a lost swan] P.I. Staker... Right. Pisstaker! Come on!"

"Have you ever fired your gun up in the air and gone "ahhrgh"?"

"[seeing the vast collection of guns] By the power of Greyskull!"

"[discussing why a person would wear a hat to cover his face] He's fuck-ugly."

"[while Nicholas is chasing a shoplifter through the supermarket, Danny is reading the taglines of the cheap action films in the half-price bin] Supercop. Meet the cop that can't be stopped."

"Is it true that there is a place in a man's head that, if you shoot it, it will blow up?"

"You're off the fuckin' chain!"

"[cue to hit the sirens and rev the engine] Bring the noise!"

""Do you want anything from the shop?" [repeated by Danny and Nicholas]"

"[After Nicholas corrects Danny's use of "policeman" to "police officer"] What made you wanna be a policeman-officer?"

"I'm a slasher, and I must be stopped!"

"I'm sure if we bashed your head in, all sorts of secrets would come tumbling out..."

"Absolute tosh, wasn't it? It's annoying that the understudies are actually professional actors. Greg over there was an extra in Straw Dogs and Sheri portrayed a cadaver in Prime Suspect."

"My, my. Here come the Fuzz."

"[taking a ginger-haired boy hostage] Stay back! Or the ginger-nut gets it! [the child bites Skinner's hand and runs away] Ow! You little FUCKER!"

"GET! [punch] OUT! [punch] OF MY! [punch] VILLAGE! [punch], [while fighting Angel]."

"[after tripping and impaling his chin on the spire of a model church] Ooooow...Thith...really...hurtth.... I'm...going...to need thome...icee... creeeeeam...."

"Met. Sergeant narrating: Police Constable Nicholas Angel: born, schooled in London. Graduated Canterbury University in 1993 with a double first in Politics and Sociology. Attended Hendon College of Police Training and displayed great attitude in field exercises, notably Urban Pacification and Riot Control. Academically excelled in theoretical coursework and final year examinations. Received the Baton of Honour, graduated with distinction into the Metropolitan Police Service and quickly established an effectiveness and popularity within the community. Proceeded to improve skill base with courses in advanced driving and advanced cycling. Became heavily involved in a number of extra-vocational activities and to this day holds the Met record for the hundred metre dash. In 2001, he began active duty with the renowned SO19 Armed Response Unit and received a Bravery Award for efforts in the resolution of Operation Crackdown. In the last twelve months, he has received nine special commendations, achieved highest arrest record for any officer in the Met and sustained three injuries in the line of duty, most recently in December when wounded by a man dressed as Father Christmas."

"Joyce Cooper: I hope you had a pleasant trip—fascist!"

"Reverend Phillip Shooter: Fuck off, grasshopper! [after being shot]Jesus Christ!"

"Sgt. Tony Fisher: [upon being presented with an obvious murder scene] Hang about, hang about... you're saying this wasn't an accident?"

"Sgt. Tony Fisher: [after Sgt. Angel lays out a plan of action] Very good. What he said."

"DC Andy Cartwright: You wanna be a big cop in a small town? Fuck off up the model village!"

"DS Andy Wainwright: Murder, murder, murder. Change the fucking record!"

"Sgt. Turner: [after Angel has arrested three underage drinkers] You really want to, process all this lot? My pen's runnin' out."

"DC Andy Wainwright: [after a bottle of bolognaise explodes in his face] It's alright, Andy! It's just bolognaise!"

"Michael Armstrong AKA Lurch: Yarp."

"Sgt. Turner: Oh, Sgt. Angel, someone from London called for you. [Angel turns to face him, he is literally covered in firearms all over his black suit, he has a tooth pick in his mouth] I'll tell 'em you'll ring em back."

"PC Doris Thatcher: [after knocking Tina unconscious with a 'Slippery When Wet' sign] Nothing like a bit o' girl-on-girl."

"Sgt. Turner #2: I dunno, nobody tells me nothin'."

"Tom Weaver: [while aiming a blunderbuss at Nicholas] You know what you are? A BLOODY BUSYBODY!"

"Big Cops. Small Town. Moderate Violence."

"They're bad boys. They're die hards. They're lethal weapons. They're the Fuzz."

"Bring the noise."

"They're gonna bust your arse."

"— Sergeant Nicholas Angel"

"— PC Danny Butterman"

"Timothy Dalton — Simon Skinner"

"— Inspector Frank Butterman"

"[voiceover] As we live we all get caught and torn by various traps. Writing can trap you. Some writers tend to write what has pleased their readers in the past. They hear accolades and believe them. There's only one final judge of writing, and that is the Writer. When he is swayed by the critics, the editors, the publishers, the readers; then he is finished. And, of course, when he is swayed with his fame and his fortune, you can float him down the river with the turds."

"[voiceover] Jan was an excellent fuck. She had a tight pussy. And she took it like it was a knife that was killing her."

"[voiceover] Amazing how grimly we hold on to our misery, the energy we burn fueling our anger. Amazing how one moment, we can be snarling like a beast, then a few moments later, forgetting what or why. Not hours of this, or days, or months, or years of this...but decades. Lifetimes completely used up, given over to the pettiest rancor and hatred. Finally, there is nothing here for death to take away."

"[voiceover] Even at my lowest times, I can feel the words bubbling inside of me. And I had to get the words down or be overcome by something worse than death. Words not as precious things but as necessary things. Yet when I begin to doubt my ability to work the word I simply read another writer and then I know that I have nothing to worry about. My contest is only with myself: to do it right, with power and force and delight and gamble."

"[voiceover] I decided to clean up the apartment. I thought I must be turning into a fag."

"All I want to do is get my check and get drunk."

"[voiceover] The racetrack crowd is the world brought down to size, life grinding against death and losing. Nobody wins finally, we are just seeking a reprieve, a moment out of the glare."

"[voiceover] I understood too well that great lovers were always men of leisure. I fucked better as a bum than as a puncher of timeclocks."

"[voiceover] That scene in the office stayed with me. Those cigars, the fine clothes. I thought of good steaks, long rides up winding driveways that led to beautiful homes. Ease. Trips to Europe. Fine women."

"[voiceover] I bought some expensive clothes and a good pair of shoes. The owner of the bike supply house didn't look so powerful anymore. Manny and I took a little longer with our lunches and came back smoking good cigars. The new life didn't sit well with Jan. She was used to her four fucks a day and also used to see me poor and humble."

"[voiceover] A poem is a city filled with streets and sewers. Filled with saints, heros, beggars, madmen. Filled with banality and booze. Filled with rain and thunder and periods of drought. A poem is a city of war. It's a barbershop filled with cynical drunks. A poem is a city. A poem is a nation. A poem is the world."

"[voiceover] If you are going to try, go all the way. Otherwise don't even start. This could mean losing girlfriends, wives, relatives, jobs. And Maybe your mind. It could mean not eating for three or four days. It could mean freezing on a park bench. It could mean jail. It could mean derision. It could mean mockery, isolation. Isolation is the gift. All others are a test of your endurance. Of how much you really want to do it. And you'll do it, despite rejection in the worst odds. And it will be better than anything else you can imagine. If you're going to try, go all the way. There is no other feeling like that. You will be alone with the gods. And the nights will flame with fire. You will ride life straight to perfect laughter. It's the only good fight there is."

"Bar Patron: Kid, I've probably slept longer than you've lived."

"Matt Dillon - Henry Chinaski"

"Lili Taylor - Jan"

"Marisa Tomei - Laura"

"Adrienne Shelly - Jerry"

"Fisher Stevens - Manny"

"Karen Young - Grace"

"Didier Flamand - Pierre"

"I appreciate what you did for me. But you see, I'm like any other woman. I sweat. I cough. I've cavities. You won't miss me. I'm sure you realize that now. Shut the door when you leave."

"Now I have only one thing left to do: nothing. I don't want any belongings, any memories. No friends, no love. Those are all traps."

"They took everything away. Only the mattress is left."

"I'm just fine. I have everything here. I have the TV. You can see the whole world."

"Do you want to tell me something about your husband or your home? Or your children? Or maybe yourself?"

"La copiste: That music is so beautiful. One can't destroy things like that."

"Juliette Binoche - Julie de Courcy (née Vignon)"

"Benoît Régent - Olivier Benôit"

"Emmanuelle Riva - Madame Vignon, Julie's mother"

"Florence Pernel - Sandrine"

"Guillaume - Tonquédec as Serge"

"Charlotte Very - Lucille"

"Yann Trégouët - Antoine"

"Hélène Vincent - La journaliste"

"Philippe Volter - L'agent immobilier"

"Zbigniew Zamachowski - Karol Karol (cameo)"

"Julie Delpy - Dominique (cameo)"

"I'm happy around you. If I'm happy with you, it's because we'll never meet again. The thought of the future needn't depress us, since we have none."

"Religion adds to love, but love adds to religion, also."

"There can't be real love unless it's shared. That's why I believe in a certain predestination."

"As a Christian I say it's evil not to acknowledge what is good."

"Although it's less enforced now, one thing I dislike about the Church is balancing sins against good deeds. Purity of heart is more important."

"Do you really want my life story? Well, I had a lover and my husband had a mistress. Curiously enough, she was rather your sort: very moral, very Catholic. Not hypocritical, not calculating - very sincere. Yet I hated her like poison."

"What I don't like about you is that you always dodge the issue. You don't face up to things. A shamefaced Christian combined with a shamefaced Don Juan."

"Françoise: I don't believe in predestination. I believe we are always free to choose even if God aids us in our choice."

"Jean-Louis Trintignant - Jean-Louis"

"Françoise Fabian - Maud"

"Marie-Christine Barrault - Françoise"

"Antoine Vitez - Vidal"

"Leonid Kogan - himself"

"Guy Léger - Preacher"

"Anne Dubot - Blonde Friend"

"Marie Becker - Marie, Maud's Daughter"

"Marie-Claude Rauzier - Student"

"Save the planet, Whenever I've read that bumper sticker, I've had to laugh. Save the planet. What for? And from what? From ourselves? This is good."

"Life's simple: Kill or be killed, don't get involved...and always finish the job. The survivor's code. My code."

"it all sounds great until the day you find yourself confronted by a choice. A choice to make a difference, to help someone...or to walk away and save yourself"

"You sold me a gun that don't work! You almost got me killed! I paid $20 for this. I want my money back."

"I thought you were in Sudan, killing babies."

"I told you if you ever point that gun at me again...I'd kill you."

"You need two things to live in this business, your balls and your word. [This is a reference to Scarface, made famous by Tony Montana]"

"Look, lady. I'm just a delivery boy. And to me you're just a package. I'm not your friend, I'm not your brother, I'm not your boyfriend."

"You can never have enough firepower, Sister."

"What is she, a walking wildlife encyclopedia?"

"He made me an offer I couldn't refuse. [Reference to the Godfather's "Ill make him an offer he can't refuse"]."

"If she's carrying a virus, I'll kill her myself and burn the body."

"They won't let either one of us walk out of here alive."

"I want to bring three simple rules to your attention before we start our journey. Wherever she goes, I go. That is rule number one. Rule number two, the less contact she has with the outside world, the better. The Third rule is No foul language."

"Obviously, you are not a gentleman.."

"It was a haven for women who needed to heal."

"Maybe now you can trust somebody."

"I'm scared. Can I hold your hand? [To Toorop]"

"Siberian tigers went extinct in 2017. The last one died in the Moscow Zoo."

"What are you gonna do? Shoot me in the head? Swing on me like an animal?"

"Are you really going to kill me and burn my body?"

"Finn: This goddamn global warming is bad for business."

"[Epitaph on the gravestone] Mr. Magorium, toy impresario, wonder aficionado and avid shoe wearer."

"I fell so completely in love with these shoes, I bought enough pairs to last my whole lifetime. This is my last pair."

"Some are important documents, others maybe doodles I never framed. I can't tell the difference."

"Pretty impressive ball, isn't it?"

"Unlikely adventures require unlikely tools."

"Light bulbs die, my sweet. I will depart."

"All stories, even the ones we love, must eventually come to an end and when they do, it's only an opportunity for another story to begin."

"You have to believe it to see it."

"If you don't believe . . . You will."

"Dustin Hoffman — Edward Magorium"

"Natalie Portman — Molly Mahoney"

"Jason Bateman — Henry "Mutant" Weston"

"Zach Mills — Eric Applebaum"

"Ted Ludzik — Bellini"

"Kiele Sanchez — Mrs. Goodman"

"I wanna be a cream puff."

"From the visionary mind of director Yann Samuell comes France's hit comedy!"

"Are you game?"

"Guillaume Canet - Julien Janvier"

"Marion Cotillard - Sophie Kowalsky"

"Thibault Verhaeghe - 8 year old Julien"

"Joséphine Lebas-Joly - 8 year old Sophie"

"Emmanuelle Grönvold - Julien's mother"

"Gérard Watkins – Julien's father"

"Gilles Lellouche – Sergei Nimov Nimovitch"

"Julia Faure - Sophie's sister"

"Laetizia Venezia - Christelle Louise Bouchard"

"Élodie Navarre - Aurélie Miller"

"Nathalie Nattier - 80-year-old Sophie"

"Robert Willar - 80-year-old Julien"

"Frédéric Geerts - Igor"

"Manuela Sanchez - Teacher"

"Philippe Drecq - School headmaster"

"They took his daughter. He'll take their lives."

"His daughter was taken. He has 96 hours to get her back."

"Time is Running Out"

"They have taken his daughter. He will hunt them. He will find them. He will kill them."

"Liam Neeson - Bryan Mills"

"Maggie Grace - Kim Mills"

"Famke Janssen - Lenore Mills-St John"

"Katie Cassidy - Amanda"

"Leland Orser - Sam Gilroy"

"Jon Gries - Mark Casey"

"David Warshofsky - Bernie Harris"

"Holly Valance - Sheerah"

"Xander Berkeley - Stuart St John"

"Olivier Rabourdin - Jean-Claude Pitrel"

"Gérard Watkins - Patrice Saint-Clair"

"Arben Bajraktaraj - Marko Hoxha"

"Camille Japy - Isabelle"

"Nicolas Giraud - Peter"

"Goran Kostić - Gregor"

"Il n'y a pas de plus profonde solitude que celle du samouraï si ce n'est celle d'un tigre dans la jungle... peut-être..."

"Jack Nicholson as Harry Sanborn"

"Diane Keaton as Erica Barry"

"Keanu Reeves as Julian Mercer"

"Amanda Peet as Marin Klein"

"Frances McDormand as Zoe"

"Jon Favreau as Leo"

"Paul Michael Glaser as Dave Klein"

"Rachel Ticotin as Dr. Martinez"

"KaDee Strickland as Kristen"

"[On being confronted by The Devil's Reaper] You can tell your master that I am not yet ready for hell!"

"[Looking upwards toward God] Is this all that I am to you?"

"[On seeing a boy die before his eyes] If I kill you, I am bound for hell. It is a price I shall gladly pay."

"[From trailer] There is evil walking on this earth. And I will hunt it down and send it burning back to hell."

"I am the only devil here!"

"I was never more at home than I was in battle. Killing came easily to me."

"This is your last chance to save your pitiful life."

"Your father told me that if I save you, my soul would be redeemed. I have, and it is. And the Devil's claim on me is no more."

"[Closing line] Father, I have kept my promise and Meredith is returned to her mother. The demon is gone, banished to the shadows along with the sorcerer who had cursed us all. But evil is not so easily defeated, and I know I will have to fight again. I am a very different man now. Through all of my travels, all the things I've seen and all the things I've done, I have found my purpose. There was a time when the world was plunging into darkness. A time of witchcraft and sorcery, when no one stood against evil. That time...is over."

"[As he casts Kane out of the Monastery] There are many paths to redemption... not all of them peaceful."

"James Purefoy - Solomon Kane"

"Rachel Hurd-Wood - Meredith Crowthorn"

"Pete Postlethwaite - William Crowthorn"

"Alice Krige - Katherine Crowthorn"

"Philip Winchester - Henry Telford"

"Max von Sydow - Josiah Kane"

"Jason Flemyng - Malachi"

"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"

"I don't give a smooth fart whether or not we go."

"I've never loved anything the way he loves music."

"Mr. Ayers, I'm honored to be your friend."

"Every now and then, the hearts, minds, and wallets of the city's officials open simultaneously. And when that happens, every now and then, the city is a better place for it."

""Points West" by Steve Lopez. A year ago, I met a man who was down on his luck and thought I might be able to help him. I don't know that I have. Yes, my friend Mr. Ayers now sleeps inside. He has a key. He has a bed. But his mental state, and his well-being, are as precarious now as they were the day we met. These are people who tell me I've helped them. Mental health experts who say that the simple act of being someone's friend can change his brian chemistry, improve his functioning in the world. I can't speak for Mr. Ayers in that regard. Maybe our friendship has helped him. But maybe not. I can, however, speak for myself. I can tell you that by witnessing Mr. Ayers' courage, his humility, his faith in the power of his art, I've learned the dignity of being loyal to something you believe in. Of holding onto it, above all else. Of believing, without question, that it will carry you home."

"Beauty is art; music is beauty."

"You can't help me."

"You can't hold down angels."

"Gotta put rosin on your bow. It's just like feeding a parakeet. A bow needs rosin just like a police car needs prisoners."

"Life has a mind of its own"

"No one changes anything by playing it safe"

"Jamie Foxx - Nathaniel Ayers"

"Robert Downey Jr. - Steve Lopez"

"Catherine Kenner as Mary Weston"

"Tom Hollander as Graham Claydon"

"Lisa Gay Hamilton - Jennifer"

"Nelsan Ellis - David Carter"

"Rachel Harris - Leslie Bloom"

"Stephen Root - Curt Reynolds"

"Lorraine Toussaint - Flo Ayers"

"Justin Martin - Young Nathaniel Ayers"

"Octavia Spencer - Troubled Woman"

"Jena Malone - Cheery Lab Tech"

"Lemon Andersen - Uncle Tommy"

"Sorry we were gone so long, but we had to pick up Hank!"

"[to Louis] If you ever get hungry, our garden back home is full of snails. We tried everything to get rid of them. We never thought of a Frenchman!"

"[dying] A man... a statesman... is to be killed... assassinated in London. Soon... very soon. Tell them in London... tell them to try Ambrose Chapel..."

"[to Drayton] You have muddled everything from the start, taking that child with you from Marrakesh. Don't you realize that Americans dislike having their children stolen?"

"A little knowledge can be a deadly thing!"

"Alfred Hitchcock strikes the highest note of suspense the screen has yet achieved!"

"James Stewart - Dr. Benjamin McKenna"

"Doris Day - Josephine Conway McKenna"

"Brenda De Banzie - Lucy Drayton"

"Bernard Miles - Edward Drayton"

"Ralph Truman - Inspector Buchanan"

"Daniel Gélin - Louis Bernard"

"Mogens Wieth - Ambassador"

"Alan Mowbray - Val Parnell"

"Hillary Brooke - Jan Peterson"

"Christopher Olsen - Hank McKenna"

"When you need me, but do not want me, then I must stay. When you want me, but no longer need me, then I have to go."

"These children require 5 lessons, Mrs. Green."

"[showing off her medals] Courage, kindness, resolve, imagination, enthusiasm, basket-work, and leaps of faith."

"When you need her, but do not want her, then she must stay. When you want her, but no longer need her, then she has to go."

"Nanny McPhee doesn't like goodbyes. I remember from when I was little."

"Emma Thompson - Nanny McPhee"

"Maggie Gyllenhaal - Isabel Green"

"Rhys Ifans - Phil Green"

"Asa Butterfield - Norman Green"

"Lil Woods - Megan Green"

"Ewan McGregor - Rory Green"

"Maggie Smith"

"Because if you shoot a bullet, someone dies. When you drop a bomb, many die. You hit a woman, love dies. But if you say the f-word, nothing actually happens."

"You know, a few months ago, I made a terrible mistake. I realized something, and instead of crushing the thought the moment it came I... I let it hang on, and now I know it to be true. And I'm afraid it's stuck in my head forever. These are the best days of our lives. It's a terrible thing to know, but I know it."

"To all our listeners, this is what I have to say - God bless you all. And as for you bastards in charge, don't dream it's over. Years will come, years will go, and politicians will do fuck all to make the world a better place. But all over the world, young men and young women will always dream dreams and put those dreams into song. Nothing important dies tonight, just a few ugly guys on a crappy ship. The only sadness tonight is that, in future years, there'll be so many fantastic songs that it will not be our privilege to play. But, believe you me, they will still be written, they will still be sung and they will be the wonder of the world."

"I find alcohol rather sharpens my mind..."

"Sometimes, just sometimes, I think I should be called 'Clever Kevin'."

"Are you doing something dirty? Are you doing something your parents don't know about? Are you breaking the law? Are you breaking the rules?"

"Open your knees and feel the breeze, because Gavin's back to stay!"

"Now it's just you and me, and I'm looking right up your skirt."

"Think of me when you cum!"

"I believe the technical term is a fuckload of boats!"

"'How about it?' How about this? Try and fuck your way out of this one Mark!"

"1 Boat. 8 DJs. No Morals."

"They rocked. They rolled. Then they sank."

"On air. Off shore. Out of control."

"Philip Seymour Hoffman - The Count"

"Tom Sturridge - Carl"

"Bill Nighy - Quentin"

"Will Adamsdale - John Mayford"

"Rhys Ifans - Gavin Kavanagh"

"Nick Frost - DJ Dave"

"Tom Brooke - Kevin"

"Rhys Darby - Angus Nutsford"

"Katherine Parkinson - Felicity"

"Chris O'Dowd - Simon Swafford"

"Tom Wisdom - Mark"

"Ralph Brown - Bob Silver"

"Ike Hamilton - Harold"

"Kenneth Branagh - Sir Alistair Dormandy"

"Sinead Matthews - Miss C"

"Jack Davenport - Domenic Twatt"

"Talulah Riley -Marianne"

"Emma Thompson - Charlotte"

"January Jones - Elenore"

"Gemma Arterton - Desiree"

"We don't have to like each other. We just have to get married."

"[trying to shift all the blame for their bogus marriage onto Georges] You stroll around my apartment, touching my things. Do you realize the situation that you've put me in? Do you?"

"I am the husband!"

"[in response to Brontë's telling him that she will donate her time to a children's agriculture charity] If it amuses you, then do it."

"An irresistibly charming comedy!"

"The story of two people who got married, met, and then fell in love."

"Gérard Depardieu - Georges Fauré"

"Andie MacDowell - Brontë Parrish"

"Bebe Neuwirth - Lauren Adler"

"Gregg Edelman - Phil"

"Robert Prosky - Brontë's Lawyer"

"Lois Smith - Brontë's Mother"

"Ann Dowd as Peggy"

"Larry Wright as Larry Wright the bucket drummer"

"Antonio Banderas - Nicolas Bardo"

"Rebecca Romjin - Laure Ash/Lily"

"Eriq Ebouaney - Black Tie"

"I have no socks left around these holes."

"Now, Doinel, go get some water and erase those insanities, or I'll make you lick the wall, my friend."

"Doinel, if your paper is first today, it's because I've decided to give the results beginning with the worst."

"Every time I cried, my father would imitate me on his fiddle, just to drive me nuts. One day I got fed up and I knocked him out."

"[to Antoine about another boy in the reformatory] He escaped a week ago, but they got him. Around here to escape is bad enough, but getting caught is worse."

"If she drops her pen, pick it up, but don't look at her legs. Or else it will be on your record."

"I'm an unstable psychotic individual with perverted tendencies."

"Jean-Pierre Léaud - Antoine Doinel"

"Claire Maurier - Gilberte Doinel - la mère d'Antoine"

"Albert Rémy - Julien Doinel"

"Guy Decomble - 'Petite Feuille', the French teacher"

"Georges Flamant - Mr. Bigey"

"Patrick Auffay - René"

"Daniel Couturier - Betrand Mauricet"

"But the more you watch Japanese television, the more you feel it's watching you."

"All women have a built-in grain of indestructibility."

"Frankly, have you ever heard of anything stupider than to say to people as they teach in film schools, not to look at the camera?"

"He wrote me: I will have spent my life trying to understand the function of remembering, which is not the opposite of forgetting, but rather its lining. We do not remember, we rewrite memory much as history is rewritten. How can one remember thirst?"

"Rumor has it that every third world leader coined the same phrase the morning after independence: “Now the real problems start.”"

"If the images of the present don't change, then change the images of the past."

"And when all the celebrations are over it remains only to pick up all the ornaments—all the accessories of the celebration—and by burning them, make a celebration."

"At the turn of the century, Britain was the foremost world power and the British Empire stretched over two-thirds of the globe. Despite the extent of its power, its most troublesome colony had always been the one closest to it, Ireland. For over seven hundred years, Britain's rule over Ireland had been resisted by attempts at revolution and rebellion, all of which ended in failure. Then, in 1916, a rebellion began, to be followed by a guerilla war that would change the nature of that rule forever. The mastermind behind that war was Michael Collins. His life and death defined the period, in its triumph, terror and tragedy. This is his story."

"[Trying to convince the Dáil to accept the Anglo-Irish Treaty] I would plead with every person here. Make me a scapegoat if you will, call me a traitor if you will, but please, let's save the country. The alternative to this treaty is a war which nobody in this gathering can even contemplate. If the price of freedom, the price of peace is the blackening of my name, I will gladly pay it."

"You've got to think of him the way he was. The way he cycled round Dublin in his pin-striped suit with £10,000 pounds on his head. "Why hide, Joe" he'd say "when that's what they'd expect?". But he never did what anyone expected. He got the British out of here and no one expected that. Some people are what the times demand, and life without them seems impossible. But he's dead. And life is possible. He made it possible."

"That's why he died. He knew the risk he was taking when he went down there, but he thought them worth taking. He took them for us, for every gobshite in this country, no matter what side they were on."

"Michael Collins was 31 when he died. Half a million people attended his funeral in Dublin. All parties to the conflict, both British and Irish, were temporarily united in grief. In his brief lifetime, he had fought the British Empire to a stalemate, negotiated the first Treaty of Independence for Ireland and overseen its transition to democracy. He died, paradoxically, in an attempt to finally remove the gun from Irish politics."

"Ireland, 1916. His dreams inspired hope. His words inspired passion. His courage forged a nation's destiny. An epic tale of passion and destiny."

"An epic tale of passion and destiny."

"Liam Neeson - Michael Collins"

"Aidan Quinn - Harry Boland"

"Stephen Rea - Ned Broy"

"Alan Rickman - Éamon de Valera"

"Julia Roberts - Kitty Kiernan"

"Ian Hart as Joe O'Reilly"

"Brendan Gleeson - Liam Tobin"

"Seán McGinley - Smith"

"Gerard McSorley - Cathal Brugha"

"Owen O'Neill - Rory O'Connor"

"Charles Dance - Soames"

"Jonathan Rhys Meyers - Collins's Assassin"

"Ian McElhinney - Belfast Detective"

"Stuart Graham - Tom Cullen"

"I met him once. Karla. In fifty-five. Moscow Centre was in pieces. Purge after purge. Half their agents were jumping ship and I traveled around signing them up. Hundreds of them. One of them was calling himself Gerstmann. He was on his way back to Russia, and we were pretty sure he was going to be executed. Plane had a twenty-four hour layover at Delhi, and that's how long I had to convince him to come over to us instead of going home to die. Little room. I'm sitting here... he's sitting there. The Americans had had him tortured. No fingernails. It's incredibly hot. I'm very tired and all I want to do is get this over with and get back home. Things weren't going well with Ann. I give him the usual pitch: come to the West and we can give you a comfortable life, after questioning. Or you can catch your plane and fly home and be shot. "Think of your wife. You have a wife, don't you? I brought you some cigarettes, by the way. Use my lighter. We could arrange for her to join you, we have a lot of stock to trade. If you go back, she'll be ostracized. Think of her. Think about how much she..." Kept harping on about the damn wife. Telling him more about me than... Should have walked out, of course, but for some reason it seemed important to save this one. So I go on. "We are not so very different, you and I. We've both spent our lives looking for the weaknesses in one another's systems. Don't you think it's time to recognize there is as little worth on your side as there is on mine?" ...Never said a word. Not one word."

"[on Karla] He's a fanatic. And the fanatic is always concealing a secret doubt."

"[re: Karla] And the next morning he got back on his plane, handed the pack of cigarettes back to me untouched--and this was a chain smoker, mind--and flew off to what he presumed would be his death... He kept my lighter. It was a gift, "From George to Anne. All my love"."

"She told me she had a secret, the mother of all secrets..."

"Everything the Circus thinks is gold is shit, made in Moscow."

"Ha! That's it, Percy, you keep stalling! I tell you, Ben, we've got some really lousy people in this outfit, I wouldn't trust a fucking one of them!"

"[a teenage couple are making out in front of Connie and Smiley] I don't know about you George, but I'm feeling seriously under-fucked!"

"I had to pick a side, George. And the West has become so very ugly..."

"[on the phone] As I said, you may fuck me but you still have to call me "Sir" in the morning."

"[to Smiley] Karla said you were very good, the one we had to worry about. But you do have a blind spot. And if I was known to be Ann's lover, you wouldn't be able to see me straight. And he was right, up to a point."

"Trust no one. Suspect everyone."

"How do you find an enemy who is hidden right before your eyes?"

"The secret is out."

"The enemy is within."

"At the height of the Cold War, only a master spy could be trusted to expose one of their own."

"Gary Oldman - George Smiley, "Beggarman""

"Colin Firth - Bill Haydon, "Tailor""

"Tom Hardy - Ricki Tarr"

"Mark Strong - Jim Prideaux"

"Ciarán Hinds - Roy Bland, "Soldier""

"Benedict Cumberbatch - Peter Guillam"

"David Dencik - Toby Esterhase, "Poorman""

"Stephen Graham - Jerry Westerby"

"Simon McBurney - Oliver Lacon"

"Toby Jones - Percy Alleline, "Tinker""

"John Hurt - Control"

"Svetlana Khodchenkova - Irina"

"Kathy Burke - Connie Sachs"

"Roger Lloyd-Pack - Mendel"

"Christian McKay - Mackelvore"

"Konstantin Khabensky - Polyakov"

"Michael Sarne - Karla"

"Tomasz Kowalski - Boris"

"Zoltán Mucsi - Hungarian agent"

"Why am I me and not somebody else?"

"I can remember a long time ago. Long before my birth. I was waiting with those who were not yet born. When we're not born yet, we know everything. Everything that will happen. When it's your turn, the Angels of Oblivion place a finger on your mouth. "Shh..." It leaves a mark on the upper lip. It means that you have forgotten everything. But the angels missed me."

"You have to make the right choice. As long as you don't choose, everything remains possible."

"Sometimes people call me Mr. Craft. C-R-A-F-T. Can't Remember A Fucking Thing."

"I'm not afraid of dying, I'm afraid I haven't been alive enough. It should be written on every school room blackboard; 'life is a playground or nothing.'"

"I always liked fish. I never thought that one day they would like me too. [narrating while in his car underwater]"

"Urgh, you're still here? Did I fall asleep? Sometimes I don't sleep so I think... I think about how it was... and all I have left. What do you see when you look at me? A grumpy old man who never answers questions? Who mixes everything up? Who's kept busy by getting his meals? That's not me. Me... I wear shorts. I'm nine years old. I can run faster than the train. I can't feel my aching back anymore. I'm fifteen. I'm fifteen and I'm in love."

"If you mix the mashed potatoes and sauce, you can't separate them later. It's forever. The smoke comes out of Daddy's cigarette, but it never goes back in. We cannot go back. That's why it's hard to choose. You have to make the right choice. As long as you don't choose, everything remains possible."

"Before, he was unable to make a choice because he didn't know what would happen. Now that he knows what will happen, he is unable to make a choice."

"Nothing is real, everything is possible."

"As long as you don't choose, everything remains possible."

"Jared Leto as Nemo Nobody, both 34 and 118 years old."

"Sarah Polley as Elise"

"Diane Kruger as Anna"

"Linh Dan Pham as Jean"

"Rhys Ifans as Nemo's father"

"Natasha Little as Nemo's mother"

"Toby Regbo as Nemo aged 15"

"Juno Temple as Anna aged 15"

"Clare Stone as Elise aged 15"

"Thomas Byrne as Nemo aged 9"

"Allan Corduner as Dr. Feldheim"

"Daniel Mays as the young journalist"

"(about the plan, mildly amused) Don't ge me wrong. It's a dream vacation. I mean I load up. I go into space. I get inside the maximum-security nuthouse, save the President's daughter if she's not dead already. Get past all the psychos who've just woken up."

"(after giving Emilie a third shot) That'll freeze the nerves in this spot for 24 hours. You want some in your mouth?"

"Come on. It'll be fun."

"(as he's trying to save Emilie's life while the others remind him of time limit) You know the counting thing, not very relaxing."

"(to Emilie) Here'e an apple and a gun. Don't talk to strangers. Shoot them."

"(to Hydell) Do you dream while you're under?"

"(to Snow) Who are you? Who sent you?"

"What the hell are you doing?!"

"I thought you said your were sure."

"(to Snow about Mace) Now you're asking a crazy man where he hid a briefcase that you threw away in a crowded subway train?!"

"(to her father about the prison) Everyone is dead... blow this dump out of the sky!"

"(to Snow) You don't like me, do you?"

"Who was the mystery man on the phone?"

"Mr. President, there's been a massive take-over on MS-One."

"(about Snow) He's the best there is. But he's a loose cannon."

"Tell me what I can do to help you, Snow."

"We could send in one man. One man with one very specific order. To get Emilie Warnock out."

"Nobody smokes anymore, Snow."

"Snow, this is no time to be hanging around!"

"We can send in one man with one very specific order."

"[as Jeanne puts her hands on his crotch] That is your happiness, and my hap-penis."

"Even if a husband lives 200 fucking years, he'll never discover his wife's true nature. I may be able to understand the secrets of the universe, but... I'll never understand the truth about you. Never."

"Well, first you have to take a hot bath and if you don't you're gonna get pneumonia. Right?... and then you know what happens? You get pneumonia... and then you know what happens? You die! And then, you know what happens then when you die? I get to fuck the dead rat!"

"[to his dead wife at her wake] Our marriage was nothing more than a foxhole for you. And all it took for you to get out was a 10 cent razor and a tub full of water. You cheap, goddamn, fucking, godforsaken whore, I hope you rot in hell. You're worse than the dirtiest street pig anybody could ever find anywhere, and you know why? You know why? Because you lied. You lied to me and I trusted you. You lied and you knew you were lying. Go on, tell me you didn't lie. Haven't you got anything to say about that? You can think up something, can't you? Go on, tell me something! Go on, smile, you cunt! [crying] Go on, tell me... tell me something sweet. Smile at me and say I just misunderstood. Go on, tell me. You pig-fucker... you goddamn, fucking, pig-fucking liar. [sobbing] Rosa... I'm sorry, I... I just - I can't stand it to see these goddamn things on your face! [peels off her fake eyelashes] You never wore make-up... this fucking shit. I'm gonna take this off your mouth, this - this lipstick... Rosa - oh GOD! I'm sorry! I - I don't know why you did it! I'd do it too, if I knew how... I just don't know how... I have to... have to find a way..."

"Olympia is the personification of domestic virtue: faithful, economic and racist."

"It's better not knowing anything."

"[last line of the film] I didn't know his name..."

"Marlon Brando - Paul"

"Maria Schneider - Jeanne"

"Jean-Pierre Léaud - Tom"

"Massimo Girotti - Marcel"

"Veronica Lazar - Rosa"

"Maria Michi - Rosa's mother"

"Catherine Allégret - Catherine"

"Darling Légitimus - the Concierge"

"But apart from the film’s many qualities (and I have been able to sketch in only a few of them) there was a special air of excitement that night because there was some doubt if anyone who wasn’t there would ever see the film in its original form. Although shot entirely in Paris, it is an Italo-French co-production, and as such, if it is to benefit from all that the Italian system offers in the way of subsidies etc, it cannot be exported before it is passed by the Italian censorship board. An exception was made for the New York film festival, but the print was whisked in and out of the country too fast for there to be more than the one solitary screening – there was not even a press show. At the same time, the producer Alberto Grimaldi, flew in a half dozen Italian journalists; the idea is that the Italian censorship board is very responsive to foreign opinion. It is generally agreed that Pasolini’s Canterbury Tales would never have got past them if it had not first won the Grand Prize in Berlin. ... What they always can do [the producer and director] if the Italian censors don’t pass the film is to surrender the film’s nationality; it may cost them a little, but they would surely make it up on the film’s American release. But where else can it be shown? Germany, Scandinavia – yes. But France or England: I wonder. It is certainly the best possible test for a censor; everyone here agreed the film is not pornographic. On the other hand, it is graphic and explicit. In fact, it poses something of a quandary. But I dare say it will be solved eventually: Last Tango is manifestly too important a film to be put on the shelf. Meanwhile, the fur is going to fly."

"[After Clouseau gets shot in the chest by Sonia] I wish I'd shot him."

"Steve Martin as Inspector Jacques Clouseau"

"Jean Reno as Gendarme Gilbert Ponton"

"Alfred Molina as Chief Inspector Randall Pepperidge"

"Emily Mortimer as Nicole Nuveau Durant"

"Aishwarya Rai Bachchan as Sonia Solandres / The Tornado"

"Andy García as Inspector Vicenzo Roccara Squarcialupi Brancaleone"

"Yuki Matsuzaki as Kenji Mazuto"

"Lily Tomlin as Yvette Berenger"

"John Cleese as Chief Inspector Charles Dreyfus"

"Johnny Hallyday as Laurence Millikin"

"Jeremy Irons as Alonso Avellaneda"

"Geoffrey Palmer as Commimissioner Joubert"

"Yevgeni Lazarev as The Pope (as Eugene Lazarev)"

"Philip Goodwin as Deputy Chief Renard"

"Thomas Derrah as Robert the Night Guard"

"Karen Strassman (voice)"

"Christiane Amanpour as Herself"

"Sire, too late to escape now! My friends, the birds are here! And when I say "birds"... [the wild animals enter] I don't really mean "birds"!"

"Ah! Never would I have believed that the sky could be so beautiful."

"Mommy, where are you?"

"God Almighty, you know my mommy is dead because she is with you. I want to talk to my mommy."

"Ponette, I take care of you now. Jesus is counting on me to do that."

"Victoire Thivisol — Ponette"

"Xavier Beauvois - Ponette's father"

"Claire Nebout - La tante (Aunt Claire)"

"Matiaz Bureau Caton - Matiaz, Ponette's cousin"

"Delphine Schiltz - Delphine, Ponette's cousin"

"Léopoldine Serre - Ada"

"Aurélie Vérillon - La Fille de l'Internet"

"[Taking over a subway composition after taunting a boy by offering him the control first.] I'll bet you've always wanted to drive one of these...Me too!"

"[To MacLeod, at Brenda Wyatt's grave.] Ashes to ashes, dust to dust, if you don't take it out and use it, it's going to rust."

"For leading the revolution, you are exiled to the planet Earth. Once there, you will be immortal. You can only die if your head is cut from your body. When one of you becomes the last of us on Earth, he will claim the prize. He can return to Zeist, or chose to grow old and die on Earth."

"Prepare yourselves...There can be only one."

"Most people have a full measure of life, and most people just watch it slowly drip away. But if you can summon it all up, at one time in one place, you can accomplish something glorious!"

"It's time for a new kind of magic."

"It's a kind of magic."

"Christopher Lambert - Connor MacLeod"

"Sean Connery - Juan Sánchez Villa-Lobos Ramírez"

"Virginia Madsen - Louise Marcus"

"Michael Ironside - General Katana"

"Allan Rich - Allan Neyman"

"John C. McGinley - David Blake"

"Philipp Brock - Cabbie"

"Rusty Schwimmer - Drunk"

"Ed Trucco - Jimmy"

"Steven Grives - Hamlet"

"Jimmy Murray - Horatio"

"Pete Antico - Corda"

"Peter Bucossi - Reno"

"From the dawn of time we came, moving silently among you, down through the centuries...immortals. I'm Connor MacLeod of the clan MacLeod, the Highlander. After the death of my friend Ramírez and my beloved wife Heather, I left my home in the Highlands of Scotland and began to wander the world, searching for answers. Finally I came to Japan, to the mountains of Niri, and the cave of the sorcerer Nakano."

"This doesn't make sense. They were all dead, the Prize was mine. How did this happen?"

"[to Connor, about his son, John] It seems while I've been the master of illusion, you have been the master of deception. I always thought Immortals couldn't have children. What was it like convincing all those women you loved, that they were the ones unable to have a child?"

"[to Connor] You've already lost. Let your soul guide your sword."

"Centuries ago one man was chosen to protect all that is good."

"Throughout time they have hunted each other fulfilling the prophecy, that there can be only one."

"The final conflict."

"This time it's for eternity."

"One man was chosen to protect all that is good. Now an enemy from the past journeys time to challenge him in the present."

"Christopher Lambert - Connor MacLeod / Russell Nash"

"Mario Van Peebles - Kane"

"Deborah Kara Unger - Dr. Alexandra Johnson / Sarah Barrington"

"Martin Neufeld - Lt. John Stenn"

"Mako Iwamatsu - Nakano"

"Raoul Trujillo - Senghi Khan"

"Jean-Pierre Perusse - Khabul Khan"

"Daniel Do - Dr. Fuji Takamura"

"Gabriel Kakon - John MacLeod"

"Louis Bertignac - Pierre Bouchet"

"Michael Jayston - Jack Donovan"

"Excuse me. You know you're no fool; you're a poet, a dangerous poet."

"[to Schumacher] I have no choice but to dismiss you. It breaks my heart, but I can't expose my guests to your firearms. It may be wrong of them, but they value their lives."

"Friendship with a man? That's asking for moonlight at midday."

"A laughing woman is disarmed, you can do what you like."

"You tried to better me by making me a servant. I'll never forget it."

"Telling lies is such a heavy weight to bear."

"Love, as it exists in society, is merely the mingling of two whims and the contact of two skins."

"The awful thing about life is this: Everybody has their reasons."

"You have to understand, it's the plight of all heroes today. In the air, they're terrific. But when they come back to earth, they're weak, poor, and helpless."

"That's also part of the times, today everyone lies."

"Throughout the entire last part of The Rules of the Game the camera acts like an invisible guest wandering about the salon and the corridors with a certain curiosity, but without any more advantage than its invisibility. The camera is not noticeably any more mobile than a man would be (if one grants that people run about quite a bit in this château). And the camera even gets trapped in a corner, where it is forced to watch the action from a fixed position, unable to move without revealing its presence and inhibiting the protagonists. This sort of personification of the camera accounts for the extraordinary quality of this long sequence. It is not striking because of the script or the acting, but as a result of Renoir’s half amused, half anxious way of observing the action.No one has grasped the true nature of the screen better than Renoir; no one has successfully rid it of the equivocal analogies with painting and the theater. Plastically the screen is most often made to conform to the limits of a canvas, and dramatically it is modeled after the stage. With these two traditional references in mind, directors tend to conceive their images as boxed within a rectangle as do the painter and the stage director. Renoir on the other hand, understands that the screen is not a simple rectangle but rather the homothetic surface of the viewfinder of his camera. It is the very opposite of a frame. The screen is a mask whose function is no less to hide reality than to reveal it."

"I wanted to depict a society dancing on a volcano."

"Nora Gregor - Christine de la Cheyniest"

"Paulette Dubost - Lisette"

"Marcel Dalio - Robert de la Cheyniest"

"Roland Toutain - André Jurieux"

"Jean Renoir - Octave"

"Mila Parély - Geneviève de Marras"

"Anne Mayen - Jackie"

"Julien Carette - Marceau"

"Gaston Modot - Edouard Schumacher"

"Pierre Magnier - The General"

"Not only are you rich, but you want to be loved as if you are poor."

"You were right, Garance. Love is simple."

"Jealousy belongs to all if a woman belongs to no one."

"I'm dying of silence, like others die of hunger and thirst."

"I don't love you, but you are the only women for whom I have no contempt."

"The mere thought of them killing each other, over a woman, because of me, comforts me."

"His Lawyer says, "Above all, don't talk." The Priest: "Confession is half-remission." He confesses. The Judge: "You Killed and confessed. Perfect. Off with your head." The fellow, disappointed protests: "But confession is half-remission!" The Judge: "True but justice must be done. So we'll just cut off half your head.""

"A kick in the ass, if well delivered, is a sure laugh. It's true. There's an entire order, a science, a style of kicks in the ass."

"Novelty is as old as the hills."

"Director: Act! Act! You have the wrong place. We are not allowed to act here. We walk on our hands! And you know why? They bully us. If we put on plays, they'd have to close their great, noble theaters! Their public is bored to death by museum pieces, dusty tragedies and declaiming mummies who never move! But the Funambules is full of life, movement! Extravaganzas! Appearances, disappearances, like in real life! And then-boom-the kick in the pants!"

"Man in the audience: Shut up! We can't hear the pantomime!"

"Arletty - Claire "Garance" Reine"

"Jean-Louis Barrault - Baptiste Deburau"

"Pierre Brasseur - Frédérick Lemaître"

"Marcel Herrand - Pierre-François Lacenaire"

"Pierre Renoir - Jéricho"

"María Casares - Nathalie"

"Louis Salou - Comte Édouard de Montray"

"Gaston Modot - Fil de Soie"

"Fabien Loris - Avril"

"Marcel Pérès - Director of the Funambules"

"Pierre Palau - Stage manager of the Funambules"

"Etienne Decroux - Anselme Debureau"

"Jane Marken - Mme. Hermine"

"Marcelle Monthil - Marie"

"Louis Florencie - Policeman"

"Raymond Rognoni - Director, 'Grand Theatre'"

"Jacques Castelot - George"

"Paul Frankeur - Police Inspector"

"Albert Rémy - Scarpia Barrigni"

"Robert Dhéry - Celestin"

"Ten years ago, my father was in Munich. Often, after the theater, he told me that he'd go with friends to a Bierstube. There was a nutty man they thought a fool. He spoke about politics. He was quite an attraction. They'd buy him beer and encourage him. He'd stand up on the table making furious speeches. It was Hitler."

"It's funny, though, you know? Everyone would like to be different from the others, but instead you want to be the same as everyone else."

"Oh, hunchbacks bring good luck."

"He'll be a typical intellectual, disagreeable and impotent."

"[somewhat inebriated] Shopping is only for women. Husbands pay!"

"[disgusted by Marcello's inability to act and leaving their car] How disgusting! I've always said so. Make me work in the shit - sure, but not with a coward! It's up to me! Cowards, homosexuals, Jews - they're all the same thing! If it were up to me, I'd stand them all against a wall! Better yet - eliminate them when they're born!"

"Jean-Louis Trintignant - Marcello Clerici"

"Stefania Sandrelli - Giulia"

"Gastone Moschin - Manganiello"

"Enzo Tarascio - Professor Quadri"

"Fosco Giachetti - Il colonnello"

"José Quaglio - Italo"

"Dominique Sanda - Anna Quadri"

"Pierre Clémenti - Lino"

"Is Ambition only a Virtue among nobles, a fault for others?"

"Riches don't make a man rich, they only make him busier."

"Paradise and Hell both can be earthly."

"Centuries before the exploration of space, there was another voyage into the unknown."

"Gérard Depardieu as Christopher Columbus"

"Armand Assante as Gabriel Sanchez, Columbus's archenemy in Castile"

"Sigourney Weaver as Queen Isabella I"

"Loren Dean as Older Ferdinand Columbus"

"Ángela Molina as Beatriz Enriquez de Arana"

"Fernando Rey as Antonio de Marchena"

"Michael Wincott as Adrián de Moxica, Columbus's archenemy in the Indies"

"Tchéky Karyo as Martín Alonso Pinzón"

"Kevin Dunn as Captain Méndez"

"Frank Langella as Luis de Santángel"

"Mark Margolis as Francisco de Bobadilla"

"Kario Salem as de Arojaz"

"Billy L. Sullivan as Younger Ferdinand Columbus"

"John Heffernan as Brother Buyl"

"Arnold Vosloo as Hernando de Guevara"

"Steven Waddington as Bartholomew Columbus, brother of Christopher"

"Fernando Guillén Cuervo as Giacomo Columbus, brother of Christopher"

"José Luis Ferrer as Alonso de Bolaños"

"Bercelio Moya as Utapán"

"Juan Diego Botto as Diego Columbus"

"Achero Mañas as Ship's Boy"

"Fernando García Rimada as King Ferdinand V"

"Albert Vidal as Hernando de Talavera"

"Isabel Prinz as Dueña"

"Jack Taylor as de Vicuña"

"Ángela Rosal as Pinzón's Wife"

"Silvia Montero as Pinzón's Daughter (uncredited)"

"Well, hurry it up. We're working on a locomotive, not a pocketwatch."

"You crazy bastard."

"[last words] Labiche! Here's your prize, Labiche. Some of the greatest paintings in the world. Does it please you, Labiche? You feel a sense of excitement at just being near them? A painting means as much to you as a string of pearls to an ape. You won by sheer luck. You stopped me without knowing what you were doing or why. You are nothing, Labiche. A lump of flesh. The paintings are mine. They always will be. Beauty belongs to the man who can appreciate it. They will always belong to me, or a man like me. Now, this minute, you couldn't tell me why you did what you did."

"Those paintings are part of France. The Germans want to take them away. They've taken our land, our food, they live in our houses, and now they're trying to take our art. This beauty, this vision of life, born out of France, our special vision, our trust. We hold it in trust, don't you see, for everyone? This is our pride, what we create and hold for the world. There are worse things to risk your life for than that."

"One man's impossible mission - to save his country's priceless treasures!"

"It carried their hopes, their nation's honour!"

"Burt Lancaster as Paul Labiche"

"Paul Scofield as Col. Franz von Waldheim"

"Jeanne Moreau as Christine"

"Suzanne Flon as Mademoiselle Villard"

"Michel Simon as Papa Boule"

"Labor omnia vincit"

"As the longest and most expensive of the early féeries, Le Voyage dans la lune constitutes not only a culmination of Méliès's work but also a significant advance. It mixes theatrical and cinematic devices in both old and new ways, it privileges clous f spectacle by means of extended narrative continuity, and, surprisingly, it experiments with dividing up and reconstituting the autonomous shot-scene."

"The middle section of Le Voyage dans la lune, where the scientists actually explore the moon, may break no new ground in its display of trick effects and spectacular decors, yet that hardly detracts from its achievement. The rocket sinks below the lunar surface, for instance, while the earth seems to rise in the far background sky, a "dream" of celestrial bodies hovers over the sleeping scientists, ending in a shower of snowflakes, and Selenites keep disappearing in puffs of smoke."

"Méliès also created edited sequences by breaking scenes down into several discrete shots, sometimes resulting in an effect of rapid montage, as in Le Voyage dans la lune/A Trip to the Moon (1902), in which the rocket's descent to Earth is shown in a four-shot sequence lasting two-and-a-half seconds."

"Made in 1902, Le Voyage dans la lune was the film that first brought Méliès international fame—and it is the film that, even today, is the most widely recognized of Méliès's works. At first, however, he had difficulty persuading fairground exhibitors to buy it because of the high price resulting from the film's lavish production costs; so he lent the film to exhibitors free of charge for a single showing, confident that its popularity with audiences would convince exhibitors that they would recoup his asking price."

"Le Voyage dans la lune was not only the first science fiction film, but also the first cinematic spoof of the genre."

"In its depiction of the exploration of a faraway place and hostile encounter with alien life forms, Le Voyage dans la lune can easily be read as a parable of colonial conflict."

"Subtending this film is a satire of social hierarchy: the interplanetary explorers' stint at the Selenites' court mirrors the hierarchical structure depicted at the scientific congress, as Barbenfouillis presides over his scientific disciples, the power conferred upon him by his intellectual prowess as arbitrary and absurd as that invoked by the crustacean king. Le Voyage dans la lune ultimately shows that, rather than being safely out of this world, the differences encountered by the intrepid explorers were very close to home."

"The film— Méliès's 400th production—cost him an extravagant 10,000 francs, his most erxpensive project to date. It became a hit around the world almost instantly, largely because of its pioneering special effects and innovative filmmaking techniques, which included double exposures, dissolves and fades, and elaborate sets contrived to depict extraterrestrial spaces. Audiences had never seen anything like it before. It was the 'newest' thing in town, playing at some venues for months."

"In one of his greatest films, A TRIP TO THE MOON (Le Voyage dans la lune), the moon harbors a grimacing man in the moon and the stars a bull's-eyes studded with pretty faces of music hall girls."

"A great number of French, English and American manufacturers of films who are searching for novelties, but lack the ingenuity to produce them, have found it easier and more economical to advertise their poor copies as their own original conceptions. This accounts for the simultaneous appearance in several issues of a well known New York paper of advertisements of the celebrated Trip to the Moonby four or five different concerns, each pretending to be its creator. All these pretensions are false. The Trip to the Moon as well as Gulliver's Travels, The Astronomer's Dream, Cincerella, Red Riding Hood, Blue Beard, Joan of Arc Christmas Dream etc., are the personal creations of Mr. George Melies, who himself conceived the ideas, painted the accessories and acted on the stage.In opening a factory and offices in New York we are prepared and determined energetically to pursue all counterfeiters and pirates. We will not speak twice; we will act."

"Dear Mr. Levy: Your recent letter to Mr. James Beggs asks whether the Apollo (and previous era spacecraft) "splashdown" recovery technique owes anything to George Méliès' film Le Voyage dans la lune. Although the similarities are striking, the recovery technique used for the Mercury, Gemini and Apollo capsules was dictated more by the then-current engineering capabilities than any imaginative interplay between the engineers and Monsieur Méliès."

"Georges Méliès — Professor Barbenfouillis"

"Bleuette Bernon — Phoebe (the lady on the crescent moon)"

"François Lallement — the officer of the marines"

"Henri Delannoy — the captain of the rocket"

"Jules-Eugène Legris — the parade leader"

"Victor André, Delpierre, Farjaux, Kelm, and Brunnet — the astronomers"

"Irène Jacob - Valentine Dussault"

"Jean-Louis Trintignant - Joseph Kern"

"Jean-Pierre Lorit - Auguste Bruner"

"Frederique Feder - Karin"

"Samuel Le Bihan - Le photographe (Photographer)"

"Marion Stalens - Le vétérinaire (Veterinary surgeon)"

"Teco Celio - Le barman (barman)"

"Bernard Escalon - Le disquaire (Record dealer)"

"Jean Schlegel - Le voisin (Neighbour)"

"While Kieślowski dips into various interconnecting lives, the central drama is the electrifying encounter between Valentine — caring, troubled — and the judge, whose tendency to play God fails to match, initially, the girl's compassion. It's a film about destiny and chance, solitude and communication, cynicism and faith, doubt and desire; about lives affected by forces beyond rationalization. The assured direction avoids woolly mysticism by using material resources — actors, color, movement, composition, sound — to illuminate abstract concepts. Stunningly beautiful, powerfully scored and immaculately performed, the film is virtually flawless, and one of the very greatest cinematic achievements of the last few decades. A masterpiece."

"That was a blank. The next one's real. Are you sure?"

"Our marriage was never consummated."

"What counts on bridge is memory. … And mine is excellent."

"Zbigniew Zamachowski - Karol Karol"

"Julie Delpy - Dominique Vidal"

"Janusz Gajos - Mikołaj"

"Jerzy Stuhr - Jurek"

"Aleksander Bardini - Le notaire (The Lawyer)"

"Grzegorz Warchoł - L'élégant (The Elegant Man)"

"Cezary Harasimowicz - L'inspecteur (The Inspector)"

"Jerzy Nowak - Le vieux paysan (The Old Farmer)"

"Jerzy Trela - Monsieur Bronek"

"Teresa Budzisz-Krzyżanowska - Madame Jadwiga"

"Stan Laurel - Stan"

"Oliver Hardy - Ollie"

"Suzy Delair - Chérie Lamour"

"Max Elloy - Antoine"

"Paul Frees - Antoine (English-dubbed voice)"

"Suzet Maïs - Mrs. Dolan"

"Adriano Rimoldi - Giovanni Copini"

"Luigi Tosi - Lt. Jack Frazer"

"Michael Dalmatoff - Alecto"

"Claude May - Miss Pringle"

"André Randall - Phineas Bramwell"

"Robert Vattier - Yves Bonnefoy"

"Vittorio Caprioli - Pietro Poltroni"

"Lucien Callamand - Harbor official"

"Olivier Hussenot - Monsieur Bonnet"

"Guglielmo Barnabò - Giovanni's employer"

"Philippe Richard - Manager of the Cacatoes Club"

"Félix Oudart - Mayor and Registrar of Papeete"

"Titys - Deputy to the Mayor"

"Palmyre Levasseur - Wife of the Registrar"

"Robert Murzeau - Captain Mike Dolan"

"Henri Cote - Surveyor"

"Charles Lémontier - Senior official"

"Maurice Pierrat - French radio announcer"

"Hans Werner - German radio announcer"

"Jean Maxime - Sailor in the Café Crusoe"

"Nicolas Amato - Rub-Out Raymond"

"Guy Henri - Alecto's henchman"

"Joé Davray - Alecto's henchman"

"Roger Legris - Higgins"

"Hubert Deschamps - Policeman on the island"

"[dying] Life is wonderful."

"All the Might, the Mystery, the Macabre Passions of an Earth-Shaking Novel! Aflame with the Fire of Filmdom's Most Sensuous Beauty!"

"The World's Supreme Shocker!"

"It really marked my childhood and became a sentimental favorite of mine."

"You can see in these scenes why my interest was growing as a child, because I was introduced to the birds and the bees and those mysteries. Gina Lollobrigida who made up in certain departments what she lacked in actoral skills."

"Gina Lollobrigida — Esmeralda"

"Anthony Quinn — Quasimodo"

"Jean Danet — Phoebus de Chateaupers"

"Alain Cuny — Claude Frollo"

"Robert Hirsch — Pierre Gringoire"

"Danielle Dumont — Fleur de Lys"

"Philippe Clay — Clopin Trouillefou"

"Maurice Sarfati — Jehan Frollo"

"Jean Tissier — King Louis XI"

"Valentine Tessier — Aloyse de Gondelaurier"

"Jacques Hilling — Maitre Charmolue"

"Jacques Dufilho — Guillaume Rousseau"

"Roger Blin — Mathias Hungadi Spicali"

"Marianne Oswald — La Falourdel"

"Roland Bailly — The Hangman"

"Piéral — The Dwarf"

"Camille Guérini — The President"

"Damia — The Beggar"

"Robert Lombard — Jacques Coppenole"

"Albert Rémy — Jupiter"

"Hubert de Lapparent — Guillaume de Harancourt"

"Boris Vian — Cardinal Charles of Bourbon"

"That's the star we're waiting for to start Christmas Eve. Do you see it? And there, below, the fog. Look. It's not fog. It's really millions of little stars."

"You were wise to put your trust in the law, boy."

"Well, Petes. What times we live in... when a black's worth as much as a white man!"

"If anybody draws first... it's gotta be you."

"And now, boy... I've been waitin' a long time for an amusin' day like this."

"Calm down, friends. Since when are wolves afraid of wolves?"

"I want the mute to come shoot it out with me. Just him an' me. Tell him if he don't... I'm gonna shoot every one of these people here. My friends won't interfere. So it's my life against every one of theirs."

"[last lines] There's a bounty on each one. We'll come back and collect 'em later... all according to the law."

"Once, my husband told me of this man. He avenges our wrongs. And the bounty killers sure do tremble when he appears. They call him "Silence." Because wherever he goes, the silence of death follows."

"I didn't get the money... but I still want my revenge. I don't want you to work for nothing. There is one who'd give me the money, right away... if I wanted to... do what he wants. Well... what he wants in exchange is too high a price for me to pay... but I'm willing to pay you. Now, before, after, whenever."

"My husband was a good man. They forced him to steal, to give me a decent life. Because... Pollicut could put a price on his head. He thought if I became his mistress... well, he thought wrong."

"There wasn't time! I'm sorry. I tried... but that Loco had captured 'em. He'd taken them all as hostages to the saloon. He wants to shoot it out with you, just you and him. He said to tell you... if you don't, he'll kill every one of them! But... you can't, Silence! You're hurt real bad. Besides... I'm certain it's a trap. You can't trust him. Don't get involved. You're just one man. Please don't go. Let's run for it. There must be some place we can go. They're gonna kill 'em either way, they're all gonna die! I don't want you dead. I love you."

"Charlie: Lucky I didn't hit this critter in the face, or else they couldn't tell who he is!"

"Sheriff Gideon Burnett: Poor old Betsy. Everything I had... was on that horse. The only thing I ever loved."

"Martin: Cold, ain't it? I reckon I'd head for a better climate if I was you... more like Haiti. Oh, I meant no offence, Pauline, no offence."

"Henry Pollicut: [shows his mutilated thumb to Silence] Look at my hand. Remember what you did?! You cripple just to spite the men you hate... so nobody'll be able to use a gun, against you. Maybe you ruined my hand, but still, what I come here to get, it won't matter much!"

"Regina: If you come here, Loco, you'll find out I can shoot a pistol, too!"

"The massacres of 1898, year of the Great Blizzard, finally brought forth fierce public condemnation of the bounthy [sic] killers, who, under the guise of false legality, made violent murder a profitable way of life. For many years there was a clapboard sign at Snow Hill which carried this legend: MEN'S BOOTS CAN KICK UP THE DUST OF THIS PLACE FOR A THOUSAND YEARS, BUT NOTHING MAN CAN EVER DO WILL WIPE OUT THE BLOOD STAINS OF THE POOR FOLK WHO FELL HERE."

"People don't go to the cinema to see love scenes. Buñuel was right when he said the most embarrassing thing, for a filmmaker, is to point a camera at a couple kissing. Nothing is more banal than a kiss. Generally you can't have love scenes in stories which are action-based – though in The Great Silence I shot quite a beautiful love scene between a black woman and a mute. There was something very beautiful and very morbid about it. This was the only love scene I ever included in a film of this genre, where the women are generally bizarre."

"Although The Big Silence is [Corbucci's] best film, it has never been shown publicly here or in the United States. It's easy to see why. The film, like most Italian westerns, is incredibly bleak and pessimistic; but worse, it has the most horrible ending of any film I've ever seen ... The beginning of The Big Silence is a little ragged, but bear with it. Once you're aboard the stagecoach with Trintignant and Klaus Kinski – who plays the politest murderer out west – you're in for an amazing ride. The music is by Ennio Morricone: it's a great and very unusual score."

"Corbucci's heroes can't really be called heroes. In another director's western, they would be the bad guys. And as time went on, Corbucci kept de-emphasizing the role of the hero ... In Il Grande Silenzio, he has Klaus Kinski playing a villainous bounty hunter. I'm not a big fan of Kinski, but he's amazing in this movie — it's definitely his best performance in a genre movie. The hero of Il Grande Silenzio is Jean-Louis Trintignant, playing a mute. By taking his hero’s voice away, Corbucci reduces him to nothing. And Il Grande Silenzio has one of the most nihilistic endings of any western. Trintignant goes out to face the bad guys — and gets killed. The bad guys win, they murder everybody else in the town, they ride away and that's the end of the movie. It's shocking to this day. A movie like (Andre de Toth's) Day of the Outlaw, as famous as it is for being bleak and gritty, is practically a musical in comparison to Il Grande Silenzio. Silenzio takes place in the snow — I liked the action in the snow so much, Django Unchained has a big snow section in the middle of the movie."

"I play the part of a mute. The audience won't realize it because during the first two-thirds of the film, there's no reason for him to speak. I like it because in most Westerns, they talk too much and say nothing."

"Jean-Louis Trintignant as Gordon/"Silence""

"Klaus Kinski as "Loco" ("Tigrero" in the Italian version)"

"Vonetta McGee as Pauline Middleton"

"Frank Wolff as Sheriff Gideon Burnett (Corbett in Italian)"

"Luigi Pistilli as Henry Pollicut"

"Mario Brega as Martin"

"Carlo D'Angelo as the Governor (final film role)"

"Marisa Merlini as Regina (Régine in Italian)"

"Raf Baldassarre as Sanchez's Brother (Bobo Schultz in Italian)"

"Spartaco Conversi as Walter"

"Remo De Angelis as Fake Sheriff"

"Loris Loddi as Young Silence"

"Bruno Corazzari as Charlie"

"Frances McDormand - Miss Clavel"

"Nigel Hawthorne - Lord "cucuface" Covington"

"Stéhane Audrun - Lady Marie-Gilberte Covington"

"Can I help? I'm a good driver."

"It's our mission that doesn't make sense, sir."

"I didn't come here to get a makeover."

"I'd rather that you took me somewhere other than a giant trash can!"

"[to a trio of Doghan-Dagui] Clearly you've never met a woman."

"Bussing tables! Every artist's worst nightmare! Never mention this to anybody, okay?"

"I know all of Shakespeare by heart."

"I leave you my Kingdom, take good care of it."

"So, what will it be, soldier?"

"Igon Sirrus: I'm fighting for a noble cause, too. Mine."

"Jolly the Pimp: Rules are rules and this is a place where we make love, not war."

"Button Man: By the grace of God."

"Dane Dehaan – Valerian"

"Cara Delevingne – Laureline"

"Rihanna – Bubble"

"John Goodman – Igon Sirrus"

"Ethan Hawke – Jolly the Pimp"

"From Jean-Pierre Jeunet and Marc Caro, the distinctive French wunderkinder responsible for 1991's dazzling genre-bender Delicatessen, comes this similarly eye-popping effort, The City of Lost Children—a film at least equal to its predecessor in terms of sheer style, imagination, and invention, even if it doesn't hold together as well structurally. The movie follows the adventures of a brave nine-year-old girl who teams up with a gentle, simpleminded strongman in order to rescue her younger brother, who has been kidnapped, along with a handful of other kids, by a sad, rapidly aging old man named Krank, who uses his scientific genius to project himself into the world of the children's dreams in a vain attempt to liven up his dreadfully bleak existence on his secluded island fortress. The City of Lost Children fancies itself a fairy tale—albeit a dark and scary Brothers Grimm-styled one—and, were it not for a few isolated moments of icky violence and questionable sexual overtones, it would make a fine children's picture. However, in its current form, we have a movie charming enough to capture the simple magic of Méliès' A Trip to the Moon, yet high-tech enough to feature special-effects wizardry worthy of anything in Jurassic Park; sophisticated enough to grasp Terry Gilliam's jovial sense of cynicism, but wide-eyed enough to evoke a child's innocuous way of looking at things (even though it's still gleefully hip enough to swipe a sight gag from Stephen Sayadian's sexed-up “remake” of The Cabinet of Dr. Caligari). In short, we have a movie jam-packed with enough strange characters and wild mythologies for at least three films; ironically, therein lies both the picture's greatest strength and its most grating weakness. While it's undeniably wonderful to be presented with such a full palette, the sensory overload that inevitably occurs as the film progresses can't help but distance one from both the characters and the (admittedly marvelous) world they inhabit."

"If I were to judge this film solely on its visuals, it would get an unqualified rave, no questions asked. It's only when I start to think about the story and the tone that my enthusiasm inches downward, because it's done more as an exercise than as a narrative you're meant to care about. Maybe the ultimate destination of "City of Lost Children" isn't in movie theaters at all, but on one of those video wall panels like Bill Gates is installing in his new house; you'd see an amazing image every time you walked past, and occasionally you'd linger for as many more astonishing sights as you felt capable of absorbing. The movie is an expensive, high-tech French production, using more special effects than any other French film in history, and it is appropriate that a lot of its look seems inspired by that Parisian visionary, Jules Verne. It takes place not so much in the future (or even in the dated but vivid "future" as seen by Verne) as in a sort of parallel time zone, where there are recognizable elements of our world, violently rearranged. The co-directors, Marc Caro and Jean-Pierre Jeunet, created a similar visual extravaganza in their first feature, "Delicatessen," a 1991 fantasy about cannibalism."

"If "City of Lost Children" had been released then, the "2001: A Space Odyssey (film)" fans would have segued right across the street to take it in. Through the years there have been other such inspired films made for the eye: "Blade Runner," "Fantasia," "Days of Heaven," "Brazil," "El Topo," "Santa Sangre," "Akira" and indeed "Delicatessen" come to mind. I am trying to be rather precise here, because many people will probably not find themselves sympathetic to this movie's overachieving technological pretensions, while others will find it the best film in months or years. You know who you are. I am not one of you. But I have enough of you in me to pass along the word. Far out."

"Entirely created in a studio, and set in a world plunged into endless twilight-cum-night, the film posits a kind of neo-Victorian, industrial society where David Lynch would feel at home. Though “Delicatessen” was seemingly set in the wrong part of town in the early ’50s, “City” is more like a Looney Tunes fantasy sprung from the head of Jules Verne. Setting is a multilevel smokestack port littered with industrial detritus, rusty tankers and the biggest collection of weirdos and humans since Tod Browning’s “Freaks.” Local heavies are the Cyclops, a Nietzschean sect of one-eyed fanatics who abduct young kids for crazed inventor Krank (Daniel Emilfork), an aging wizen who lives on a castle-like oil rig beyond a giant minefield."

"But with each frame filled to bursting point with visual detail and multiplaned design, plus razor-sharp cutting that often eliminates transitions, it’s not a movie you can afford to take your eyes off for a second. In addition, the major set-pieces are so breathtaking that it’s sometimes hard to remember afterwards where the characters were last positioned in the plot. Effects work, all done in France, is seamless, to the extent that some (such as the clones, all played by Pinon) effectively lose the awesomeness of being an effect. On a purely emotional level, it’s notable that the film’s most engaging moments are those when the filmers turned off the computers and simply came up with entrancing ideas."

"City of the Lost Children is just unbelievably bizarre when you watch it. The plot is a pretty simplistic good vs. evil ploy, but the city is the real star of the show. While it's funky urban-decay architecture and opaque green water is fascinating enough as it is, even more so are the inhabitants of the city. Here's a quick little list of what you'll see in this movie:"

"Circus strongman"

"Assassin fleas and their accordion-grinder master"

"Evil Siamese twins"

"A band of child thieves"

"A brain in a jar"

"Circus midgets"

"A bunch of clones that suffer from narcolepsy"

"Borg/Hellraiser-type looking people"

"Dreams in a jar"

"A guy with a tattoo of a minefield on his head"

"A couple dozen Santa Clauses"

"Can we find, in "The City of Lost Children," a parable on the desperation of modern man, who is progressively losing the ability to dream?"

"Why was there so much secrecy during filming?"

"Luc Besson's "The Professional" shows the love of a brute (Jean Reno) and an adolescent (Natalie Portman). Here, could one say as well that there is a love story between One and Miette, especially as evoked in the dialogue?"

"Indie Wire: I was thinking about “Delcatessen” and “The City of Lost Children.” While they are dark, they also have happy endings for the characters who deserve them. So, in that sense, maybe you’ve been sentimental and optimistic all along?"

"Krank, an evil inventor incapable of dreaming, kidnaps children hoping to steal their dreams - but can only retract their nightmares. But when the adoptive younger brother of circus strongman One is taken, One teams up with thief Miette to stage a daring rescue."

"On the one hand, capitalism is presented as enabling self-interest and freedom, as exemplified by the freedom to produce scientific developments (Krank), pursue religious ideas (the Cyclopses), and seek wealth (the Octopus). On the other hand, it exposes the deplorable effects of capitalism ... the exploitation of childhood (the cynical orphans), of tenderness (the Original scientist, attacked and turned out by his own beloved creations), and of innocence (the terrified children whose dreams are stolen) while suggesting that there is no place in capitalism for originality, disinterestedness, duty, self-reflective analysis, and other defining aspects of "the human.""

"Ron Perlman ~ One"

"Daniel Emilfork ~ Krank"

"Judith Vittet ~ Miette"

"Dominique Pinon ~ Clones/Diver"

"Jean-Claude Dreyfus ~ Marcello"

"Geneviève Brunet ~ the Octopus"

"Odile Mallet ~ the Octopus"

"Mireille Mosse ~ Martha"

"Serge Merlin ~ chief of the Cyclops"

"Francois Hadji-Lazaro"

"Rufus ~ Peeler"

"Ticky Holgado ~ ex acrobat"

"Jean-Louis Trirtignant ~ Uncle Irvin"

"[to Lafayette about the monkey] If you want him to live, you'll have to keep him warm."

"Gérard Depardieu - Gerard Lafayette"

"Marcello Mastroianni - Luigi Nocello"

"James Coco - Andreas Flaxman"

"Geraldine Fitzgerald - Mrs. Toland"

"Abigail Clayton - Angelica (as Gail Lawrence)"

"Stefania Casini - Feminist Actress"

"Francesca De Sapio"

"Mimsy Farmer - Feminist Actress"

"Avon Long - Miko"

"Nathalie Bernart"

"Sandra Monteleoni"

"Enrico Blasi"

"Anselma Dell'Ollo"

"Luciano Pallocchia"

"Achille Antonaglia"

"Somewhere in the mist-shrouded future of France, Louison (Pinon), a grieving ex-clown takes a job as janitor in a crumbling apartment block. Unbeknown to him, this job has a history and previous incumbents have ended up on the neighbour's dinner table via the butcher's block. When Louison innocently falls for the butcher's myopic daughter, the knife is held back to spare her feelings. But as bellies begin to rumble, will love be enough to keep Louison out of le charcuterie? This troubled romance provides the bare skeleton on which Jeunet and Caro hang their dreams. A hugely enjoyable film, "Delicatessen" welds comedy and magic into a bizarre, grotesque fantasy of an oddball dystopian future."

"In the studiously zany French fantasy film "Delicatessen," apocalyptic rubble and 1940's American kitsch make for a peculiar mix. The setting of the title is part of a half-demolished apartment house that stands amid unexplained postwar devastation, in a world where lentils have become currency and underground guerrillas called "troglodists" refer to apartment-dwellers as "surfacers." In spite of such apparent hardship, an antic spirit prevails at the apartment house in question, which is presided over by a butcher (Jean-Claude Dreyfus) with Sweeney Todd-like predilections. "I'm a butcher, but I don't mince words," he says."

"As directed by Jean-Pierre Jeunet and Marc Caro, "Delicatessen" does not aspire to much more than simply flinging these characters together and intercutting their exploits in a quick, stylish fashion. The results can be weirdly hilarious, as when the sounds of Louison rhythmically rocking on creaky bedsprings (as he paints a ceiling) are allowed to permeate and co-opt every other activity going on in the house, from rug beating to knitting. They can also be frenetic and pointless, which is the case more and more frequently as the film spins out of control. Its last half-hour is devoted chiefly to letting the characters wreck the sets, and quite literally becomes a washout when the bathtub overflows. Shot in oppressive orangey tones and sometimes taking unexpectedly grisly turns, "Delicatessen" works best when simply allowing its characters to express their strangeness. The material's fun-house atmosphere is most effectively captured in simple interludes, like Julie's rehearsed but bungled attempt to serve tea to Louison or Mrs. Interligator's unsuccessful stab at doing herself in using a lamp, a sewing machine and a length of red satin. It's worthwhile finding out how this is supposed to work, and why it doesn't."

"Beautifully textured, cleverly scripted and eerily shot (often with a wideangle lens making characters look even weirder), Delicatessan is a zany little film that's a startling and clever debut for co-helmers Jean-Pierre Jeunet and Marc Caro."

"Strange things, one can only surmise, inhabit the imagination of Marc Caro and Jean-Pierre Jeunet. "I used to live above a butcher shop," says Jeunet, handsome and brown-eyed, and just starting to gray. "We would always be awakened by the sounds of a meat cleaver, and my wife used to say we'd better move, that they're probably assassinating the residents above. That's essentially the story of "Delicatessen," although a lot happened between his wife's remark and the movie, which swept four awards at this year's Cesars, the French Oscars."

"In "Delicatessen," the directors have created a freakishly fantastic universe out of time -- as if the world as we knew it ended around 1940 (which it might have) -- and out of place -- butcher shops are not called delicatessens in France, and the only clients of this one are the building's residents -- but somehow believably familiar. The residents are quirky but human, like people you might see on the subway and wonder about. That's what makes the film and its world work. That's also what makes it lugubrious (this week's rump steak was last week's resident). "The situations are caricatures, but the characters aren't," says Jeunet. "The actors play it all very seriously. If they had played it in an exaggerated way it would have been maudlin, a farce. It would have been Monty Python.""

""Delicatessen" (Fine Arts) is a nightmare comedy with a childlike center of gravity. Set in a truly bleak future--a post-Apocalypse French city where meat-eaters prey on each other and vegetarians are underground insurgents hiding out in the sewers--it adopts a bizarre, playful tone. The macabre imagery and horrific shocks and jolts--the decaying hotel rooms and acts of insane violence--are recorded with a wistful, wackily innocent eye. Created by two young French filmmakers--Jean-Pierre Jeunet and Marc Caro--"Delicatessen" is a fearsomely intense movie that mixes moods with formidable assurance. A Grand Prize winner at the Chicago Film Festival, it's loaded with horrific images and macabre jolts that keep resonating eerily in your mind's eye."

"Jeunet and Caro split up their filmmaking chores--Jeunet directs the actors, Caro is more responsible for design and effects--and perhaps that's why there's such a satisfying density to "Delicatessen." The film itself is playful, weird, unpredictable and a bit tasteless. It has all the prerequisites of a true cult movie, which, in France, it already is. This is one foreign film that probably won't languish in the usual art-house ghetto; "Delicatessen" (Times-rated: Mature, for sensuality and violence) outshocks and outplays the American horror comedies at their own game. It's a feast of fools, a banquet of frissons : a nasty, childlike, murderously funny show."

"The butcher (Dreyfus) who owns the block has developed a system to support his tenants by hiring odd-job men whom he fattens up, then turns into tasty meats that usefully supplement the lentils that have taken over as hard currency in the starving city. The only people who remain untouched by this meat eater's corruption are the butcher's saintly daughter (Clapet), a wistful but myopic cellist, and the old man in the cellar who has turned his home into a watery swamp to support the two apparent essentials of French cuisine, frogs and snails."

"Dominique Pinon as Louison"

"Marie-Laure Dougnac as Julie Clapet"

"Jean-Claude Dreyfus as Clapet"

"Karin Viard as Mademoiselle Plusse"

"Ticky Holgado as Marcel Tapioca"

"Edith Ker as Grandmother"

"Rufus as Robert Kube"

"Jacques Mathou as Roger"

"Howard Vernon as Frog Man"

"Marc Caro as Fox"

"Vincent Lindon as Lian-Chu"

"Patrick Timsit as Gwizdo"

"Marie Drion as Zoé"

"Philippe Nahon as Lord Arnold"

"Amanda Lear as Gildas"

"Jeremy Prevost as Hector"

"Jean-Marc Lentretien as Mamular"

"István Hajdu (Steve) as Lian-Chu"

"László Görög as Gwizdo"

"Lilla Hermann as Zoé"

"Gábor Reviczky as Lord Arnold"

"László Tahi Tóth as Gildas"

"Forest Whitaker as Lian-Chu"

"Rob Paulsen as Gwizdo, and Sir Lensflair"

"Mary Mouser as Zoé"

"Nick Jameson as Lord Arnold"

"Jess Harnell as Gildas"

"Dave Wittenberg as Hector"

"Frank Welker as The World Gobbler"

"Lee Majors as Robert Lasky"

"Karen Black as Kate Neville"

"Margaux Hemingway as Gabrielle"

"Marisa Berenson as Ann"

"James Franciscus as Paul Diller"

"Roy Brocksmith as Ollie"

"Dan Pastorini as Hans"

"Frank Pesce as Warren"

"Charles Guardino as Lloyd"

"Anthony Steffen as Max"

"Fábio Sabag as Quintin"

"Gary Collins as Tom"

"Dear God, I accept my death gladly but do not let me suffer too long. Will I be with You tonight in Paradise?"

"You claim that I am sent by the Devil. It's not true. To make me suffer, the Devil has sent you... and you... and you... and you."

"An Immortal Screen Classic that will live Forever!"

"Renée Jeanne Falconetti — Jeanne d'Arc"

"Eugène Silvain — Pierre Cauchon"

"André Berley — Jean d'Estivet"

"Maurice Schutz — Nicolas Loyseleur"

"[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."

"[as Réa is mounting on him] I'm your horse?"

"Would you accept to be the mother of a god? To be Mary? Why are sons always asked to be gods?"

"And as they did not like to acknowledge God, God delivered them over to a discerning mind, to do unsuitable things: being filled with all injustice, wickedness, covetousness, maliciousness; full of envy, homicidal thoughts, strife, deceit, bad habits; whisperers, revilers, enemies of God. Some who understand the law of God still practice such actions. They are worthy of death. They not only do them, but even commend those who practice them."

"Sometimes, I can admit if I love Hansi's ass so much, then it's because I want God to curse it. I now associate joy... That faraway joy in God that I knew... I admit they're both equally holy. Her ass makes me realize I never really loved God. I liked the idea of being abandoned by God. I was reciting catechism, that's all. God is something other than my old prayers. He is my way of losing my senses. By loving Hansi, I hope to slowly lose my senses. In a slow way, but not lifeless, you know. A choppy slowness. Choppy and scalp-tingling. It doesn't always make me happy. I don't think I lose my senses more with Hansi than with God. I don't know if you wanted to guide me toward this slowness. Maybe you think Hansi isn't perverse enough for me."

"[last line of the film] Please, don't die, mom!"

"The pleasure only begins the moment the worm is in the fruit."

"Wrong isn't what we're about to do. Wrong is wanting to survive it."

"Your father was weak like you. Maybe now you know desire reduces us to weakness."

"The Turks are wonderful. Not like what people say. They're good. Nothing like the Spanish. They're the empty core of life. Living next to them is already stooping low."

"Loving your mother isn't everything... nor being intelligent. Nor being handsome. Nor being frighteningly serious. Where will that take you if you ignore the joy of others?"

"Your father is dead. I won't lie to you anymore. You must admit that I'm worse than him. I don't deserve your respect. What do you think I've been doing every afternoon all these years? Why were you raised by your grandmother? What did you imagine? Look at me, Pierre! I'm a bitch. A slut. No one respects me. Your father knew. He allowed it. If you really love me, then admit that I'm disgusting. I want you to love me for that. For the shame I inspire in you."

"Even if we're thousands of kilometers apart. We must refuse together the world of those patiently waiting for death to enlighten them. We must turn our backs to them with pride."

"The last lap is always the best!"

"The origin of the world is this hole. Nowhere else. Never believe those who pretend otherwise."

"Loulou: This goes to your mother. The Mediterranean bitch."

"Father: I would have preferred doing otherwise. Or living otherwise. But I let myself get overcome by things. Things foreign to me. They settled in. Little by little. They destroyed my hope. They began to rule. You can understand that when I was young this wasn't the life I dreamed of. I didn't dream of this Iife because I wasn't this person.I was full of joy and energy. You didn't know me, Pierre. As soon as you were born, my youth fell apart. I have the impression that my life today doesn't correspond to my true nature. I have the impression I haven't changed. Still full of joy and energy. But unable to prove it to others. Alone in my joy and energy."

"Isabelle Huppert as Hélène"

"Louis Garrel as Pierre"

"Emma de Caunes as Hansi"

"Joana Preiss as Réa"

"Jean-Baptiste Montagut as Loulou"

"Dominique Reymond as Marthe"

"Olivier Rabourdin as Robert"

"Philippe Duclos as Father"

"A Great Adventure."

"A Science Fantasy Adventure."

"The future began 80,000 years ago!"

"A primeval experience set 80,000 years ago."

"The most extraordinary film of our generation."

"Primitive tribes clash in desperate struggle for survival."

"In the tradition of Star Wars and Raiders of the Lost Ark - A GREAT ADVENTURE."

"Fourteen years ago, 2001: A Space Odyssey was the astounding epic that aroused a generation, telling them where they might be headed. Now, 20th Century Fox presents a science fantasy adventure that will arouse this generation, telling them where we might have begun."

"Everett McGill as Naoh."

"Ron Perlman as Amoukar."

"Nameer El-Kadi as Gaw."

"Rae Dawn Chong as Ika."

"Gary Schwartz as Rouka."

"Naseer El-Kadi as Nam."

"Franck-Olivier Bonnet as Aghu."

"Jean-Michel Kindt as Lakar."

"Kurt Schiegl as Faum."

"Brian Gill as Modoc."

"Terry Fitt as Hourk."

"Bibi Caspari as Gammla."

"Peter Elliott as Mikr."

"Michelle Leduc as Matr."

"Robert Lavoie as Tsor."

"Matt Birman as Morah."

"Joy Boushel as Sura."

"Christian Benard as Umbre."

"Tarlok Sing Seva as Tavawa."

"Lolamal Kapisisi as Firemaker."

"George Buza and Antonio Barichievich as Kzamm tribesmen."

"[to Hartmann] I don't want to have to blow your handsome head to pieces."

"It's like the natural functions. Revolting, but inevitable."

"[to Morand] I've always felt that even in war, gentlemen, though they may be on opposing sides, still have much in common. It was everyone's misfortune that Hitler was not a gentleman."

"A manhunt explodes with shock and excitement!"

"A unique manhunt across the capitals of Europe... across three decades up to today!"

"Peter O'Toole - General Wilhelm Tanz"

"Omar Sharif - Major (Lt. Colonel) Grau"

"Tom Courtenay - Lance Corporal Kurt Hartmann"

"Donald Pleasence - General Klaus Kahlenberge"

"Joanna Pettet - Ulrike von Seidlitz-Gabler"

"Philippe Noiret - Inspector Morand"

"Charles Gray - General Herbert von Seidlitz-Gabler"

"Coral Browne - Eleonore von Seidlitz-Gabler"

"John Gregson - Colonel Sandauer"

"Nigel Stock - Sergeant Otto Köpke"

"Christopher Plummer - Field Marshal Erwin Rommel"

"Juliette Gréco - Juliette"

"Yves Brainville - Liesowski"

"Sacha Pitoëff - Doctor"

"Charles Millot - Wionczek"

"[to Anne] You keep looking at me as if there was something wrong. Everything’s fine, Anne. The world is turning. You’ve always been that way. A worrier. Like your mother. Your mother was always scared. Always looking for reasons to be scared. Whereas your sister has always been much more... At least she doesn't keep badgering me."

"Who exactly am I?"

"I don't need any help from anyone. And I'm not going to leave my flat. All I want is for everyone to fuck off. Having said that... it's been a great pleasure. Au revoir. Toodle-oo."

"I am worried. It's very worrying. I mean... Losing all my things, everyone's just helping themselves, and... If this goes on much longer, um, I'll be stark naked. And, um, I... I won't be able to tell what time it is."

"There's something doesn't make sense about this. Doesn't make sense."

"Anthony Hopkins - Anthony"

"Olivia Colman - Anne"

"Rufus Sewell - Paul"

"Imogen Poots - Laura"

"Olivia Williams - The Woman (Catherine)"

"Mark Gatiss - The Man (Bill)"

"Ayesha Dharker - Dr Sarai"

"It wasn't his fault.. It was an accident! What is destined to happen happens! If God placed it on our path, there has to be a reason."

"Two or three weeks after your arrest, I too was arrested. On the same charges as everyone else : collusion, conspiracy and propaganda against the regime."

"There's an ATM over there. But two hundred tomans is the most you can withdraw."

"They hanged me by my feet! I didn't see the sun for three months. I could no longer tell day from night. And now you feel sorry for them? People like you think they're the Gandhis and Mandelas, and they see us as the Hitlers and Mussolinis. You don't get it. If this guy survives, he won't spare us. Don't you realize that?!"

"I was blindfolded when they took me out of the cell. They took me to the gallows. I heard a woman ask, "Do I let her fall?" Then I heard a broken voice answer her, "Yes, let her fall. But she's young, make sure her neck breaks right away so she doesn't suffer too much"... I waited for hours for them to lower the lever and put me out of my misery... until I heard that voice again, Take her down, she needs to be married first before we cast her into hell.. They thought an executed virgin would go straight to heaven and they didn't want to do me that honor."

"Daddy, where are you. Mommy won't wake up. Please, hurry. Mommy's dying. Daddy, hurry. Daddy. Daddy, why aren't you saying anything? Mommy's dying. Daddy. Please, say something."

"Fine, I'll help you reach that goal. I'll make you a martyr right now."

"Vahid Mobasseri - Vahid"

"Mariam Afshari - Shiva"

"Ebrahim Azizi - Eghbal"

"Hadis Pakbaten - Goli/Golrokh"

"Majid Panahi - Ali"

"Mohammad Ali Elyasmehr - Hamid"

"Delnaz Najafi - Eghbal's daughter"

"Afssaneh Najmabadi - Eghbal's wife"

"Georges Hashemzadeh - Salar"

"[after running Tobias over] The chocolate orange was pronounced dead at the scene."

"So... I was thinking... maybe, um, we... should have some sex... before my treatment begins."

"I found its throwback nature to be immensely charming, a big, full-throated romantic drama that knows exactly how to make us swoon as well as make us sad. I hope there’s time for more like it."

"Andrew Garfield — Tobias"

"Florence Pugh — Almut"

"Grace Delaney — Ella"

"Lee Braithwaite — Jade"

"Aoife Hinds — Skye"

"Adam James — Simon Maxson"

"Douglas Hodge — Reginald"

"Amy Morgan — Leah"

"Niamh Cusack — Sylvia"

"Lucy Briers — Kerri Weaver, a doctor"

"Robert Boulter — Hernandez, a doctor"

"Nikhil Parmar — Sanjay"

"Kerry Godliman — Jane"

"Heather Craney — Buffy Jones"

"Marama Corlett — Adrienne Duvall"

"They struck me. Why? Why do the ideas we stand for incite such violence? Why is peace intolerable to them? Why don't they attack other organizations and movements? The answer is simple. The other movements are national, for domestic purposes, and thus leave our allies indifferent..."

"A single cannon is fired and a teacher's monthly salary goes up in smoke."

"Worldwide, there are too many soldiers ready to fire at the slightest display of progress..."

"We live in a weak and corrupt society where it's everyman for himself - Even imagination is suspect, yet it is required to solve the problems of our planet, where the destructive power of stockpiled nuclear warheads equals a ton of dynamite for each person."

"The truth is the start of powerful, united action."

"Our system is not an "-ism." This is a democracy."

"With the outbreak of such "-isms" as socialism, anarchism, imperialism, communism, etc., sunspots began to swarm across the face of the diurnal orb. God casts no light on the Reds. Scientists have announced a major increase in sunspots since the advent of beatniks, Provos, and, most of all, pacifist tendencies from Italy, France and Scandinavia."

"We must preserve the healthy parts of our society and heal the infected parts."

"Always blame the Americans. Even if you're wrong!"

"We have a saying: "A hungry bear doesn't dance.""

"The military regime banned: long hair, miniskirts, Sophocles, Tolstoy, Euripides, Russian-style toasts, strikes, Aristophanes, Ionesco, Sartre, Albee, Pinter, freedom of the press, sociology, Beckett, Dostoyevsky, modern music, pop music, new math, and the letter Z, which means HE LIVES in Ancient Greek."

"Title Card: Any similarity to real persons and events is not coincidental. It is INTENTIONAL."

"Attorney General: As if it's not enough that our country's been invaded by long-haired thugs, atheists and junkies of unclear sex, now you want to disparage our armed forces and courts - the only elements not corrupted by parliamentarianism. Just when we dream of renewal, a country without parties, without Left or Right, heeding God and its destiny, you want to ruin it all."

"Jean-Louis Trintignant - The Examining Magistrate (based on Christos Sartzetakis)"

"Yves Montand - The Deputy (Grigoris Lambrakis) / Z"

"Irene Papas - Helene (Roula Lambrakis – the Deputy's wife)"

"Pierre Dux - The General (Konstantinos Mitsou)"

"Jacques Perrin - Photojournalist (composite character, partly based on Giorgos Bertsos)"

"Charles Denner - Manuel (Manolis Glezos)"

"François Périer - The Public Prosecutor"

"Georges Géret - Nick"

"Bernard Fresson - Matt"

"Marcel Bozzuffi - Vago (Emmanouel Emmannouilidis – man who struck Lambrakis)"

"Julien Guiomar - The Colonel (Efthimios Kamoutsis)"

"Magali Noël - Nick's sister"

"Renato Salvatori - Yago (Spyro Gotzamanis – the driver)"