"[miffed by BG Wheeler's recent inspection of the complex, decides to read a part of Eugene Irwin's case file before the prisoners] Eugene R. Irwin, Lieutenant General, United States Army, in direct contravention of an order to evacuate Burundi by his commander-in-chief"- That is the president, for those of you who do not know -"selected a platoon of men to extract Jackson Ngwe, a local warlord. Disregarding reliable intelligence, General Irwin's reconnaissance team entered the ville at 0300. Eight men were captured and executed." Disregarding reliable intelligence... eight men were executed. What I want you men to understand is what the consequences can be when you choose to follow a man who is motivated solely by his pride. A man who will do anything for one more victory notch on his belt, no matter what the cost, before he fades away."

"Take a look at a castle. Any castle. Now break down the key elements that make it a castle. They haven't changed in a thousand years. 1: Location. A site on high ground that commands the territory as far as the eye can see. 2: Protection. Big walls, walls strong enough to withstand a frontal attack. 3: A garrison. Men who are trained and willing to kill. 4: A flag. You tell your men you are soldiers and that's your flag. You tell them nobody takes our flag. And you raise that flag so it flies high where everyone can see it. Now you've got yourself a castle. The only difference between this castle and all the rest is that they were built to keep people out. This castle is built to keep people in."

"[addressing the assembled prisoners as a tribute to Aguilar] Some may think to be remembered in this way. Would be a disgrace to a soldier. But this is not a disgrace. The greatest monuments to fallen men... are not made in marble. They're deep in the sea, deep in the jungles, on foreign battlefields, a rifle driven into the ground with a helmet on top... [clinches fist] and some tags. And that is the tribute that this man has earned. [puts Aguilar's dogtags in the rock] Gentlemen, Corporal Ramon Aguilar, United States Marine Corps. [someone starts singing the Marine Hymn, and everybody soon sings it]"

"Antonioni's camera never flinches. At love without meaning. At murder without guilt. At the dazzle and madness of youth today."

"Sometimes reality is the strangest fantasy of all."

"Tsai Chin - Thomas's receptionist"

"Veruschka von Lehndorff - Herself"

"Peter Bowles - Ron"

"Gillian Hills - The Blonde"

"Jane Birkin - The Brunette"

"John Castle - Bill"

"David Hemmings - Thomas"

"Sarah Miles - Patricia"

"Vanessa Redgrave - Jane"

"The natural world is arrayed against the artificial scene; conscience is deployed against convention. If you've never seen Blow-Up, see it now, if only to see what part of the world was like 40 years ago."

"I revisited Blow-Up in a shot-by-shot analysis. Freed from the hype and fashion, it emerges as a great film, if not the one we thought we were seeing at the time. This was at the 1998 Virginia Festival of American Film in Charlottesville, which had "Cool" as its theme. The festival began with the emergence of the Beat Generation and advanced through Cassavetes to Blow-Up — after which the virus of Cool leaped from its nurturing subculture into millions of willing new hosts, and has colored our society ever since, right down to and manifestly including South Park."

"Michelangelo Antonioni's Blow-Up opened in America two months before I became a film critic, and colored my first years on the job with its lingering influence. It was the opening salvo of the emerging "film generation," … the highest-grossing art film to date, was picked as the best film of 1967 by the National Society of Film Critics, and got Oscar nominations for screenplay and direction. Today, you rarely hear it mentioned. Young audiences aren't interested any more in a movie about a "trendy" London photographer who may or may not have witnessed a murder, who lives a life of cynicism and ennui, and who ends up in a park at dawn, watching college kids play tennis with an imaginary ball. The twentysomethings who bought tickets for Blow-Up are now focused on ironic, self-referential slasher movies."

"This is a fascinating picture, which has something real to say about the matter of personal involvement and emotional commitment in a jazzed-up, media-hooked-in world so cluttered with synthetic stimulations that natural feelings are overwhelmed."

"The photographer in Blow-Up, who is not a philosopher, wants to see things closer up. But it so happens that, by enlarging too far, the object itself decomposes and disappears. Hence there's a moment in which we grasp reality, but then the moment passes. This was in part the meaning of Blow-Up."

"Give me your money. Do it."

"You'll get your pictures. I promise. I always keep my word."

"You ever do any modeling? Fashion stuff, I mean. You've got it."

"What's so important about my bloody pictures?"

"It doesn't matter who's in charge. We've just gotta work together. First we build a camp."

"Raymond St. Jacques - Tangee"

"Linda Geiser - Ruth Nazerman"

"Juano Hernández - Mr. Smith"

"Baruch Lumet - Mendel"

"Marketa Kimbrell - Tessie"

"Jaime Sánchez - Jesus Ortiz"

"Brock Peters - Rodriguez"

"Geraldine Fitzgerald - Marilyn Birchfield"

"Rod Steiger - Sol Nazerman"

"Michael Greene - Captain Benson"

"Bill Schoppert - Marine Petty Officer"

"Bob Peck - Marine Officer"

"Gordon Elder - Rusty"

"Robert Shea - Billy"

"Zane Rockenbaugh - Tex"

"Judson McCune - Luke"

"Shawn Skie - Rapper"

"Brian Matthews - Tony"

"Charlie Newmark - Will"

"James Hamm - John"

"Everado Elizondo - Pablo"

"Chuck Bell - Steve"

"David Weinstein - Mikey"

"Vincent Amabile - Patterson"