"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."

"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."

"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."

"Gary Oldman - Norman Stansfield"

"Jean Reno - Léon"

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

"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."

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

"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."

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

"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."

"Peter Appel - Malky"

"Danny Aiello - Tony"

"Natalie Portman - Mathilda"

"Touche pas au grisby, salope !"

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

"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."

"Tiens, vous avez sorti le vitriol ?"

"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."

"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."