"[Singing to Harleen in a fantasy musical theatre production, kneeling on stage clutching abdomen] When... when I build that mountain, as I will someday, and the Lord sends Gabriel to take me away, I want a fine son to take my place, [scene cuts to prison hallway with his attacker watching while laughing] I'll leave a son in my heaven on Earth. With the good Lord's... [Arthur falls against wall] ...grace."

"Maybe you don't remember some things? Or you're confused about what you did? I'm here to help you try and sort out what happened. [Sits at table] Arthur, I'm not here only to help with your defense. I'm here for you. But for me to do my job, I need you to be candid with me. Does that make sense? [Arthur requests a cigarette] Of course you can. [Slides pack to him] Let's start with the first incident. The three men who accosted you on the subway, who bullied you, did it feel like they triggered something painful? From your past? Your childhood? DO you remember any of what happened? Did you black out? See bright lights? [Arthur is unresponsive] Okay."

"Leigh Gill as Gary Puddles"

"Joaquin Phoenix as Arthur Fleck/Joker"

"Steve Coogan as Paddy Meyers"

"Stephanie "Lady Gaga" Germanotta as Lee Quinzel/"

"Ken Leung as Dr. Victor Liu"

"Jacob Lofland as Ricky Meline"

"[To courtroom spectators] I realize there's a lot going on. But this is still a court if law. And and all outbursts will not be tolerated. And that applies to everyone in the courtroom."

"[Sitting before courtroom jury] I wanted to come out here as Joker. I was gonna go on an... a angry rant. And blame all of you, and everyone, for this fucking miserable life. But it wouldn't matter anymore, because I can't do this anymore. 'Cause I can't be who you want me to be. It was all just a fantasy. There is no Joker. It's just me. I killed 6 people. I wish I didn't but I did. Nobody knows, but I also killed my mother. I put a pillow over her face and smothered her to death. I just wanna... I just wanna blow it all up, and start a new life. [Harleen gets up and walks out with several spectators following] Knock knock. Who's there? Arthur Fleck. Arthur Fleck who?"

"[Singing] Sing Hallelujah, come on, be happy."

"[Walks up to Arthur in police station on a rainy day] Jesus Christ, you couldn't get him an umbrella? [Pulls down Arthur to bench] Here, Arthur. [Licks thumb and dabs his face] Today we're meeting with Dr. Beatty. Remember her? She's gonna be videotaping you this time, so we can show it at your competency hearing next week. And if they find you competent, and they will, they always do, then we're going to trial. You need to be in an actual hospital with actual doctors. Not this Department of Corrections bullshit with these thugs. [Motions head to laughing officers down hallway] Dr. Beatty thinks that everything that happened to you in your childhood, it caused a split, this fragmentation in you, to help you cope with the pain. She believes you have another person living inside of you. And it was this other person who committed those crimes. Do you understand what that means, Arthur?"

"Catherine Keener as Maryanne Stewart"

"Harry Lawtey as Harvey Dent"

"Unmask the truth."

"Come on, vengeance. Let's get into some trouble."

"You are a part of this too. Find out why."

"Thursday, October 31st. The city streets are crowded for the holiday, even with the rain. Hidden in the chaos is the element, waiting to strike like snakes. But I'm there too, watching. Two years of nights have turned me into a nocturnal animal. I must choose my targets carefully. It's a big city. I can't be everywhere, but they don't know where I am. We have a signal now, for when I'm needed. But when that light hits the sky, it's not just a call. It's a warning, to them. Fear is a tool. They think I am hiding in the shadows, but I am the shadows."

"Robert Pattinson - Bruce Wayne/Batman"

"This whole city is a powder keg, and Riddler's the match."

"God, I... I never thought I'd feel fear like that again. I thought I'd mastered all that. I mean... I'm not afraid to die. But I realize now there's something I haven't got past. This fear of ever going through any of that again. (looking at Alfred) Of losing somebody I care about."

"I’m starting to see now. I have had an effect here… but not the one I intended. Vengeance won’t change the past, mine or anyone else’s. I have to become more. People need hope. To know someone’s out there for them. The city’s angry, scarred, like me. Our scars can destroy us, even after the physical wounds have healed. But if we survive them, they can transform us. They can give us the power to endure, and the strength to fight."

"Hello, people of Gotham. This is the Riddler speaking. On Halloween night, I killed your mayor because he was not who he pretended to be. But I am not done. [shows Pete Savage in a rat trap around his body with rats eating him] Here is another who will soon be losing face. I will kill again, and again, and again, until our day of judgment when the truth about our city will finally be unmasked. Goodbye!"

"The Waynes and the Arkhams, Gotham's founding families, but what is their real legacy? Twenty years ago, one reporter set out to uncover the dark truth. He found shocking family secrets. How, when Martha was just a child, her mother brutally murdered her father, then committed suicide and how the Arkhams used their power and money to cover it up. How Martha herself was in and out of institutions for years and they didn't want anyone to know. Thomas Wayne tried to force this crusading reporter into a hush-money agreement to save his mayoral campaign. But when the reporter refused, Wayne turned to longtime secret associate Carmine Falcone and had him murdered! The Waynes and the Arkhams, Gotham's legacy of lies and murder! I hope you're listening, Bruce Wayne. This is your legacy too, and Gotham needs you to answer for the sins of your father. Goodbye."

"Peter Sarsgaard as Gil Colson"

"John Turturro - Carmine Falcone"

"Andy Serkis - Alfred Pennyworth"

"Paul Dano - Edward Nashton/Riddler"

"Zoë Kravitz - Selina Kyle/Catwoman"

"Jeffrey Wright - James Gordon"

"Colin Farrell - Oswald "Oz" Cobb/The Penguin"

"Hannah Gross – Young Penny"

"Carrie Louise Putrello – Martha Wayne"

"Douglas Hodge – Alfred Pennyworth"

"What is agreed upon, among those who have seen “Joker,” is the prowess with which Phoenix holds it all together. His face may get the greasepaint, but it’s his whole body, coiled upon itself like a spring of flesh, from which the movie’s energy is released. He’s so thin that, when he strips to the waist and bends, his spine and shoulder blades jut out from the skin; is he a fallen angel, with his wings chopped off, or a skeleton-in-waiting, halfway to the grave? Francis Bacon, I think, would have stared at Arthur with a hungry eye."

"But what condition? Could it be pseudobulbar affect, which is neurological in origin and gives rise to uncontained laughing and crying? Under stress, Arthur certainly breaks into a hyena’s cackle, which stops as abruptly as it starts; he also weeps, and, in closeup, we follow the tracks of the tears on his clown’s white-painted face. (I haven’t seen such artful drips since 1971, when Dirk Bogarde’s hair dye melted, along with his soul, at the end of “Death in Venice.”) The film, however, takes no serious interest in what might be wrong with Arthur. It merely invites us to watch his wrongness grow out of control and swell into violence, and proposes a vague connection between that private swelling and a wider social malady. “Is it just me, or is it getting crazier out there?” he asks. Guess what: it’s both!"

"“Joker” is no superhero nor supervillain nor comic book movie. The film is set somewhere in the late ’70s in Gotham City, and Phillips makes no attempt to disguise it for anything other than what it is: New York City, the headquarters of most real-life villainy: the rich who rule us, the banks and corporations for whom we toil, the media which feeds us a daily diet “news” they think we should absorb. This movie is not about Trump. It’s about the America that gave us Trump — the America which feels no need to help the outcast, the destitute. The America where the filthy rich just get richer and filthier. Except in this story a discomfiting question is posed: What if one day the dispossessed decide to fight back?"

"Dante Pereira-Olson – Bruce Wayne"

"We share each other’s grief and try to lighten each other’s burdens caused by that "one bad day." And so we continue to grieve with and support the survivors and victims’ families like those of the 2012 Aurora, Colorado, shooting during a screening of The Dark Knight Rises that killed 12 and wounded 70 others. But, while their campaign against Joker and Warner Bros. may evoke our sympathies, it is counterproductive to their goal as it sets a bad precedent for activist groups trying to define the boundaries between free speech, hate speech and violence-promoting speech. However, though I am supportive of their goal, this is the wrong movie and the wrong strategy to promote the fight for gun control because it creates a diversion. First, the strategy is wrong because it feels uncomfortably close to passive extortion. Even though there is no call to boycott, they have cast a pall over the film that is meant to be damaging. No matter how Warners reacts, the damage has already been done. Even if Warners complied with their demands, the movie has been tainted in the eyes of the average moviegoer. A photo of a Warner Bros. executive handing them a large check wouldn’t change that. There’s therefore no incentive for the studio to comply. In fact, according to a Warner Bros. statement in response: “Our company has a long history of donating to victims of violence, including Aurora, and in recent weeks, our parent company joined other business leaders to call on policymakers to enact bipartisan legislation to address this epidemic.” Second, Warner Bros. and Joker are the wrong focus of attention, which further compromises the group’s goal. Despite their claim that “we support your right to free speech and free expression,” launching this campaign around a movie — especially one like this that strives to be more artistic than exploitative — can have a chilling effect on free expression."

"When you bring me out, can you introduce me as Joker?"

"This Joker’s genesis is determinedly mature and uncartoony, compared to, say, Jack Nicholson’s low-level crook Jack Napier falling into a chemical vat in Tim Burton’s Batman, turning him into the Joker with white skin, green hair and a rictus grin. (The look of DC’s Joker was originally inspired by Conrad Veidt in the 1928 silent classic The Man Who Laughs, a man whose face was disfigured into a grin by his father’s political enemies.) There is no reason why Phoenix’s elaborately backstoried Joker shouldn’t be as powerful as Heath Ledger’s mysterious, motiveless, originless Joker in The Dark Knight. But at some stage the comic-book world of supervillaindom has to be entered, and Ledger was more powerful because he wasn’t weighed down with all this realist detail and overblown ironic noir grandeur, and he wasn’t forced to carry an entire story on his own. This Joker has just one act in him: the first act. The film somehow manages to be desperately serious and very shallow."

"Everybody's telling me that my stand-up's ready for the big clubs."

"I think that it's important to really look at those individuals who are suffering from mental illness and really try to find some love and empathy for these people. For me, the themes in that movie were empathy and feeling sad and empathetic for that character."

"I haven't been happy one minute of my entire fucking life."