"I don't want to have to do this living. I just walk around. I want to be swept off my feet, you know? I want my children to have magical powers. I am prepared for amazing things to happen. I can handle it."

"Fuck! Fuck you! Fuck me! Fuck old people! Fuck children! Fuck peace! Fuck peace..."

"If you really love me, let's make a vow — right here, together... right now."

"We have a whole life to live together you fucker, but it can't start until you call."

"Call me, if you ever feel too old to drive."

"Miranda July's Me and You and Everyone We Know is a film that with quiet confidence creates a fragile magic. It's a comedy about falling in love when, for you, love requires someone who speaks your rare emotional language. Yours is a language of whimsy and daring, of playful mind games and bold challenges. Hardly anybody speaks that language, the movie suggests — only me, and you, and everyone we know, because otherwise we wouldn't bother knowing them. As a description of a movie, I suppose that sounds maddening. An example: A young woman walks into a department store, and in the shoe department, she sees a young man who fascinates her. His hand is bandaged. She approaches him and essentially offers the gift of herself. He is not interested; he's going through a divorce and is afraid of losing his children. She asks him how he hurt his hand. "I was trying to save my life," he says. … Now imagine these two characters, named Christine (Miranda July) and Richard (John Hawkes) as they walk down the street. She suggests that the block they are walking down is their lives. And so now they are halfway down the street and halfway through their lives, and before long they will be at the end. It is impossible to suggest how poetic this scene is; when it's over, you think, that was a perfect scene, and no other scene can ever be like it. … Miranda July is a performance artist; this is her first feature film (it won the Special Jury Prize at Sundance, and at Cannes won the Camera d'Or as best first film, and the Critics' Week grand prize). Performance art sometimes deals with the peculiarities of how we express ourselves, with how odd and wonderful it is to be alive. So does this film. As Richard slowly emerges from sadness and understands that Christine values him, and he must value her, for reasons only the two of them will ever understand, the movie holds its breath, waiting to see if their delicate connection will hold. Me and You and Everyone We Know is a balancing act, as July ventures into areas that are risky and transgressive, but uses a freshness that disarms them, a directness that accepts human nature and likes to watch it at work."

"Ask her if she likes baloney."

"Email wouldn't even exist if it weren't for AIDS."

"So, do you have anything new in the chest? You know, the hope chest."

"But this is better 'cause it won't matter if we mess up. And we'll be together."

"I would love to believe in a universe where you wake up and don't have to to go to work and you step outside and meet two beautiful 18-year-old sisters who are also girlfriends and are also very nice people."

"[after taking off the bandage from his hand] It needs air. It needs to do some living. Let's take my hand for a walk."

"We will never touch your foot with our hands. Now I'll tell you what I can do, I can press on the shoe to see if it fits. I can go like this. [presses the toe of the shoe]"

"You know some kids don't even have one home and now you get to have two. Think about that."

"You know what they do with engineers when they turn 40? They take them out and shoot them."

"Keith Bradshaw - Bradshaw"

"Carrie Crawford - Kara"

"Anand Upadhyaya - Phillip"

"Casey Gooden - Robert"

"David Sullivan (actor) - Abe"

"Shane Carruth - Aaron"

"What happens if it actually works?"

"If you always want what you can't have, what do you want when you can have anything?"

"And I don't think there's ever been any reason to show you what I'm capable of...but I'm telling you this now. Go out there and do whatever it is you want. There's no way in the world I can stop you, but don't come back here. And don't come near them. Any of them."

"[His first experience in the machine] Maybe it was the dramamine kicking in, but I remember this moment in the dark with the reverberation of the machine. It was maybe the most content I've ever been."

"Aaron, I can imagine no way in which this thing could be considered anywhere remotely close to safe. All I know is I spent six hours in there and I'm still alive... You still want to do it?"

"How many times would it take before he got it right? Three? Four? Twenty? I've decided to believe that only one more would have done it. I can almost sleep at night, if there's only one more. Slowly and methodically, he reverse-engineered a perfect moment. He took from his surroundings what was needed, and made of it something more. And once the details had been successfully navigated, there was nothing left to do but wait for the conflict. Maybe the obligatory, last minute moral debate until the noise of the room escalates into panic and background screams, as the gunman walks in. And eventually, he must have got it perfect, and it must have been beautiful with all the praise and adoration he had coming. He had probably saved lives, after all. Who knows what would have happened if he hadn't been there?"

"[narrating] Meticulous, yes. Methodical. Educated. They were these things. Nothing extreme. Like anyone, they varied. There were days of mistakes and laziness and infighting. And there were days, good days, when by anyone's judgment, they would have to be considered clever. No one would say that what they were doing was complicated. It wouldn't even be considered new. Except maybe in the geological sense. They took from their surroundings what was needed, and made of it something more."

"That is no static shock."

"What's worse, thinking you're being paranoid or knowing you should be?"

"I am trying, okay, I really am here."

"Are you hungry? I haven't eaten since later this afternoon."

"You're talking about making a bigger one."

"150 years ago, the business corporation was a relatively insignificant institution. Today, it is all-pervasive. Like the Church, the Monarchy and the Communist Party in other times and places, the corporation is today's dominant institution. This documentary examines the nature, evolution, impacts, and possible futures of the modern business corporation. Initially given a narrow legal mandate, what has allowed today's corporation to achieve such extraordinary power and influence over our lives? We begin our inquiry as scandals threaten to trigger a wide debate about the lack of public control over big corporations."

"Oscar Olivera: At the climax of the struggle, the army stayed in their barracks; the police also remained in their stations; the members of Congress became invisible; the Governor went into hiding, and afterwards, he resigned. There wasn't any authority left. The only legitimate authority was the people gathered at the city square making decisions in large assemblies."

"Ira Jackson: The eagle, soaring, clear-eyed, competitive, prepared to strike, but not a vulture. Noble, visionary, majestic, that people can believe in and be inspired by, that creates such a lift that it soars. I can see that being a good logo for the principled company. Okay, guys, enough bullshit."

"Michael Moore: I believe the mistake that a lot of people make when they think about corporations, is they think you know, corporations are like us. They think they have feelings, they have politics, they have belief systems, they really only have one thing, the bottom line - how to make as much money as they can in any given quarter. That's it."

"Robert Monks: The great problem of having corporate citizens is that they aren't like the rest of us. As Baron Thurlow in England is supposed to have said, "They have no soul to save, and they have no body to incarcerate." (and) The corporation is an externalizing* machine, in the same way that a shark is a killing machine. *(moving its costs to external organizations and people)"

"Richard Grossman: In both law and the culture, the corporation was considered a subordinate entity that was a gift from the people in order to serve the public good. So you have that history, and we shouldn't be misled by it, it's not as if these were the halcyon days, when all corporations served the public trust, but there's a lot to learn from that."

"Mary Zepernick: There were very few chartered corporations in early United States history. And the ones that existed had clear stipulations in their state issued charters, how long they could operate, the amount of capitalisation, what they made or did or maintained, a turnpike or whatever was in their charter and they didn't do anything else. They didn't own or couldn't own another corporation. Their shareholders were liable. And so on."

"Ray Anderson: The modern corporation has grown out of the industrial age. The industrial age began in 1712 when an Englishman named Thomas Newcomen invented a steam driven pump to pump water out of the English coal mine, so the English coal miners could get more coal to mine, rather than hauling buckets of water out of the mine. It was all about productivity, more coal per man-hour. That was the dawn of the industrial age. And then it became more steel per man-hour, more textiles per man-hour, more automobiles per man-hour, and today, it's more chips per man-hour, more gizmos per man-hour. The system is basically the same, producing more sophisticated products today."

"Robert Keyes: The word corporate gets attached in almost, you know, in a pejorative sense to and gets married with the word "a-gen-da." And one hears a lot about the corporate a-gen-da as though it is evil, as though it is an agenda, which is trying to take over the world. Personally, I don't use the word "corporation." I use the word "business." I will use the word... use the word "company." I will use the words "business community" because I think that is a much fairer representation than zeroing in on just this word "corporation.""

"Corporations were given the rights of immortal persons. But then special kinds of persons, persons who had no moral conscience. These are a special kind of persons, which are designed by law, to be concerned only for their stockholders. And not, say, what are sometimes called their stakeholders, like the community or the work force or whatever."

"The dominant role of corporations in our lives is essentially a product of roughly the past century. Corporations were originally associations of people who were chartered by a state to perform some particular function. Like a group of people want to build a bridge over the Charles River, or something like that."

"Having acquired the legal rights and protections of a person, the question arises - what kind of person is the corporation?"

"To determine the kind of personality that drives the corporation to behave like an externalising machine, we can analyse it like a psychiatrist would a patient. We can even formulate a diagnosis, on the basis of typical case histories of harm it has inflicted on others selected from a universe of corporate activity."

"Through the voices of CEOs, whistle blowers, brokers, gurus and spies, insiders and outsiders, we present the corporation as a paradox, an institution that creates great wealth, but causes enormous, and often hidden harms."

"A very funny look at the over-the-counter culture."