"Sheriff John Hurt: If you'd seen Mary Loomis at the end, you'd understand. She'd gone mad, even dressed up like Norman's mother. And right up until the end, she was saying Norman was the one who's crazy!"

"Warren Toomey: At least, my customers have a good time! What do yours get, Bates, huh? Dead, that's what they got! Dead, murdered by you, you loony!"

"Just don't let them take me back to the institution."

"I don't kill people anymore."

"The most shocking of them all."

"Norman Bates is back home with Mother again!"

"Just when you thought it was safe to go back into the shower!"

"Norman Bates is back to normal. But Mother's off her rocker again!"

"Unlock the terror. Unlock the fear. And enter into the all new nightmare of..."

"Tracy Venable: She was crazy, Norman, but she wasn't your mother... Neither are you!"

"Mother: Why can't you leave my poor son, my poor Norman alone?"

"Nun: Wasn't you own sin red enough? You'll burn in hell for this! You'll burn in hell!"

"I've had enough of this Nancy Drew horseshit from you."

"Norman! What the hell's the matter with you?"

"Stupid bitch! You could have been comin' instead of goin'!"

"[repeated line] Watch the guitar."

"You! You made me do this, your tainted blood in me! [A cartoon laughs from the TV] Don't laugh at me, mother! Don't laugh at me!"

"She can't help it. She can't help the things she does. She's just an old lady. A sick old lady."

"The past is never really the past. It stays with me all the time."

"Mother! Oh God, mother! Blood! Blood!"

"The Bates Motel is back in business!"

"Q: When did you realise that two groups of girls were going to be the focus of Death Proof?"

"Q: So how did you decide which way to take it?"

"[Tarantino] had an idea and a complete vision for it right away when he first talked about it. He started to tell me the story and said, 'It's got this death-proof car in it.' I said, 'You have to call it Death Proof.' I helped title the movie, but that's it."

"Q: How much of the time were you actually in the vehicle being chased around and was it as fast as it looks?"

"Hey! Ladies! That was fun. [laughs] Well... Adios!"

"The woods are lovely, dark and deep, and I have promises to keep, and miles to go before I sleep. Do you hear me, Butterfly? Miles to go before you sleep."

"[after Arlene turns him down for a lapdance] Well, that's alright. You're still a nice girl, and I still like you. But you know how people say [in a John Wayne drawl] "you're okay in my book" or "in my book that's no good"? Well, I actually have a book. And everybody I ever met goes in this book, and now I've met you, and you're going in the book too. Unfortunately, I'm going to have to file you under chicken...shit."

"Get ready to fly, bitch!"

"Well, ain't you so sweet that you make sugar taste just like salt!"

"Doctor Block: Self preservation comes to mind."

"In one of the memoir’s most gripping chapters, she recounts her affair with director Robert Rodriguez (“Spy Kids,” “From Dusk till Dawn”), a smooth-talking, sensitive-seeming guy who turned out to be a Svengali. He and Quentin Tarantino were planning a double feature—”Planet Terror” and “Death Proof”—based on pulp movies of the 1970s, and he wanted McGowan to star. McGowan fell hard and fast, trusting Rodriguez enough to tell him about her experience with Weinstein. He proceeded to use the knowledge against her, she claims, as a tool for mind games, starting with a scene in which Tarantino, playing a character in his movie, attacks McGowan’s character. “I was in a backward world,” she writes. “I was losing my grip on sanity.” In what McGowan interpreted as the ultimate act of cruelty, Rodriguez “sold our film to my monster.”"

"As the outbreak's survivors - including Michael Biehn's gruff cop and Marley Shelton's runaway lesbian doc - band together to fight the toxic zombie hordes, Rodriguez barely stops for breath. Gone is the talky slow-burn of Tarantino's Death Proof; this is utterly, insanely relentless. It probably winks at the audience too often to be mistaken for a real grindhouse effort (Bruce Willis as a slimy mutant monster? C'mon). Still, it (dis)gracefully pays homage to a time when horror movies were shabby, disreputable and much more fun than today's vanilla outings. It's just ironic that Rodriguez has spent millions recreating what exploitation filmmakers like Lucio Fulci and John Hayes used to knock out for peanuts. There's a lesson in there somewhere..."

"Robert Rodriguez: I’d gotten this idea, just before Sin City, to do two short features, like, 60 minutes in length, as a double feature, which I was gonna direct myself. I said to Quentin: "You should direct one, I’ll direct the other," and he said: "Oh, let’s call it Grindhouse and make them like those old movies from the '70s and early '80s. But if we do it, we could do Kung Fu or action, but I think horror would be the best way to go." So I thought: "Well, hey, the best thing I’ve got is this zombie movie script, if you wanna just get started right away you can finish writing it, I never finished it." And Quentin goes: "Oh, I love zombie movies - yeah, yeah, send it to me, I’ll read it." But before I could even give it to him, the next day he already had Death Proof in mind. So I went back to the zombie script, and as I wrote it, I started really getting back into it."

"Incensed at what I heard, I told Rose that she was not blacklisted from MY movies and that Harvey couldn't tell me who to cast. The reason was that Harvey didn't work on my movies, I made movies all those years for Dimension and Bob Weinstein. So I explained that if I cast her in my next film, Harvey couldn't suddenly tell me no, because my first question would be "Oh, really? Why can't I cast her?" And I was sure he would not want to tell me why."

"Freddy Rodriguez: It was funny because the first couple days we were shooting… the first couple days you're always still trying to find what you're doing. And Quentin stood up one day and said 'dude, you're like Snake Pliskin! The character's like Snake Plissken!' And we all kind of raised an eye brow and we said, 'really?' Cause he is kind of like Snake Plissken. And so from then on, we just kind of stuck with that. Because the whole film had an old school John Carpenter feel anyway, so we said 'yea yea, he should be like Snake Plissken, ha ha ha.'"

"Rose McGowan: The best description I’ve heard of it, I was talking to somebody, and he said, “I have never laughed and dry heaved in the same moment.” And I thought if that could explain the movie in any way, that would be…I think that should be on the…I’m going to talk to Harvey, that really should be on the poster."

"Question: Can I ask the leg question to get it out of the way?"

"Doctor Block: I'm gonna eat your brains and gain your knowledge."

"Quentin Tarantino/Rapist: I ain't never seen a one-legged stripper. I've seen a stripper with one breast. I've seen one with twelve toes. But I ain't never seen one with one leg...and I've been to Morocco."

"Wired: How did you and Tarantino dream up Grindhouse?"

"Tarantino: You’re bringing all the judgment there. That’s your adjective. I never use the term crap. Ever! These are not so-bad-they’re-good movies. I love this stuff! And that’s what we want to re-create. For lack of a better word, we want Grindhouse to be a ride. I think we could both go out with our movies and have them stand on their own. But what’s so good about this is it’s two movies, and trailers, and bad prints, and if a little bit of gang violence breaks out in the theater, all the better! It just makes the whole experience more interactive!"

"Q: So is the point of Grindhouse for the two of you to make the best ”crappy” movie you can?"

"My own field of expertise in this genre is the cinema of Russ Meyer, and I was happy to see QT's closing homage to the tough girls and the beaten stud in "Faster, Pussycat! Kill! Kill!" (1965), which John Waters has named as the greatest film of all time. One heroine even copies Tura Satana's leather gloves, boots and ponytail. I may have spotted, indeed, the most obscure quotation from Meyer. In an opening montage of his "Beyond the Valley of the Dolls" (1970), there is a brief, inexplicable shot of a boot crushing an egg. Rodriguez uses the same composition to show a boot crushing a testicle. So the Cinema marches on."

"Quentin Tarantino's "Death Proof" and Robert Rodriguez's "Planet Terror" play as if "Night of the Living Dead" (1967) and "Faster, Pussycat! Kill! Kill!" were combined on a double bill under the parentage of the dark sperm of vengeance."

"This Thanksgiving... you'll be coming home for the holidays... in a body bag."

"White meat. Dark meat. All will be carved."

"This Thanksgiving... prepare... to have the stuffing scared out of you."