"Jerry Lovett: I'm Kelly's husband. Jerry Lovett. Kelly wanted... Kelly wanted to be here... Look, this is very hard for everyone. I can't even imagine how hard it is for you. Kelly, uh... she's had it rough. First when she thought she lost you, and now dealing with all of this, it's confusing, it's very emotional for her. She's... she's... sort of lost. Maybe you could just give her a little more time. Anyway, uh... I'm sorry that..."

"Fred Smith: Four years ago, the FedEx family lost five of our sons. That was a terrible and tragic day. But today, one of those sons, Chuck Noland, has been returned to us. Chuck, welcome home."

"We both have done the math. Kelly added it all up and...knew she had to let me go. I added it up, and knew that I had...lost her. Because I was never going to get off that island. I was going to die there, totally alone. I was going to get sick, or get injured or something. The only choice I had, the only thing I could control was when, and how and where it was going to happen. So...I made a rope and I went up to the summit, to hang myself. I had to test it, you know? Of course, you know me. And the weight of the log, snapped the limb of the tree, so I-I-I couldn't even kill myself the way I wanted to. I had power over nothing. And that's when this feeling came over me like a warm blanket. I knew, somehow that I had to stay alive. Somehow. I had to keep breathing. Even though there was no reason to hope. And all my logic said that I would never see this place again. So that's what I did. I stayed alive. I kept breathing. And one day, the logic was proven all wrong because the tide came in, and gave me a sail. And now, here I am. I'm back in Memphis, talking to you. I have ice in my glass...And I've lost her all over again. I'm so sad that I don't have Kelly. But I'm so grateful that she was with me on that island. And I know what I have to do now. I got to keep breathing. Because tomorrow, the sun will rise. Who knows what the tide could bring?"

"[to Kelly] I should've never gotten on that plane. I should've never gotten out of the car."

"I'm always going to keep this on Memphis time. Kelly time."

"[to Wilson] Do you have to keep bringing that up, can't you just forget it? Huh? You were right. You were right, it was a good thing we did a test, 'cause it wasn't going to be just a quick snap. I would have landed on the rocks. Broken my leg, or my back or my neck, bled to death, but it was the only option I had at the time though, okay? It was what, a year ago? So let's just forget it. And what is your point? Well... we might just make it. Did that thought ever cross your brain? Well, regardless, I would rather take my chance out there on the ocean, than to stay here and die on this shithole island spending the rest of my life talking TO A GODDAMN VOLLEYBALL!"

"This is it. That's all that's left. I checked over the whole island, and that is all that's left. So we're gonna be short. Short. We'll just have to make some more out of videotape. Yes. No, we have time. We do, we have time! Look, the wind's still blowing in from the west. I know. Yeah, I know! I know where there's 30 feet of extra rope! But... but I'm not going back up there."

"Here we are today. That gives us another month and a half until we're into March and April, which is our best chance for the high tides and the offshore breezes. We need... we need 424 feet of good rope, plus another 50 feet, say, for miscellaneous, that, round that off to 475 feet of good rope. Now, if we average 15 feet a day, plus, we have to build it, we have to stock it, we have to launch it. That's gonna be tight. That's not much time. But, we... we live and we die by time, don't we? Now, let's not commit the sin of turning our back on time. [chuckles] I know, I know."

"We were enroute from Memphis, for eleven and a half hours, for 475 miles an hour, so they think that we're right here. But, we went out of radio contact, then flew around that storm for about an hour, so that's a distance of what, 400 miles? Four hundred miles squared, that's 160,000 times pi, 3.14... 502,400. That's a search area of 500,000 square miles. That's twice the size of Texas. They may never find us."

"Gotta love crab. In the nick of time too. I couldn't take much more of those coconuts. Coconut milk is a natural laxative. That's something Gilligan never told us."

"[Having successfully lit a fire, putting more wood onto it] There we go! Light it up, c'mon! [singing] "The time to hesitate is through!" [throws more wood in the fire and gets briefly burned] Ouch! Haha, ouch! "No time to wallow in the mire. Try now, we can only lose. 'Cause girl, we can't get much higher. C'mon, baby, light my firrrrre!" [takes a palm branch, lighting the end, then holding it up] There you go. There you go! It's a signal fire! And it spells out S.O.S! [embers start falling around him] Woah! It's a meteor shower! [drops the branch back into the fire] Fireflies, go! Run! You're free, you're free! [the fire burns bigger] Yes! YES! Look what I've created! I have made FIRE! I...have made fire!"

"[to Wilson] You wouldn't have a match by any chance, would you?"

"[talking to Wilson, the volleyball] Hey, you want to hear something funny? Back home in Memphis, my dentist's name is James Spaulding."

"[first lines, addressing Russian workers at FedEx hub in Moscow] Time rules over us without mercy, not caring if we're healthy or ill, hungry or drunk, Russian, American, beings from Mars. It's like a fire. It could either destroy us or keep us warm, that's why every FedEx office has a clock. Because we live or we die by the clock. We never turn our back on it, and we never, ever allow ourselves the sin of losing track of time! Locally, it's 1:56, that means we've got 3 hours and 4 minutes before the end-of-the-day's package sort; that's how long we have, that's how much time we have, before this pulsating, accursed, relentless taskmaster tries to put us out of business! [sees Nicolai] Hey, Nicolai. Hey. Nicolai, good to see you. How are you, kid? Look what you did. You just delivered you just delivered your very first FedEx package. That deserves something special, like a Snickers bar, and a CD player. And something to listen to, a CD. [hands Nicolai a Snickers bar, a CD player and an Elvis CD from his duffel bag] There, Elvis Presley, 50 million fans, can't be wrong. [holds up package, to workers] You all recognize this, don't you? I took the liberty of sending this to myself, I FedEx'd it before I left Memphis. You're probably wondering what could be in here. [opening the package] What could it possibly be? Is it architectural plans? Maybe technical drawings? Is this the wallpaper for the-- for the bathroom? It is... [pulls out a timer] a clock, which I started at absolute zero, and is now at 87 hours, 22 minutes and 17 seconds. From Memphis, America to Nicolai in Russia, 87 hours. 87 hours is a shameful outrage! This is just an egg timer! What if it had been something else, like your paycheck? Or fresh boysenberries, or adoption papers? 87 hours is an eternity! The cosmos was created in less time! Wars have been fought and nations toppled in 87 hours! Fortunes made and squandered."

"I make people laugh, that's what I do. So, good luck with your picture."

"Craig Hall - Mike the Sound Recordist"

"John Sumner - Herb the Cameraman"

"Lobo Can - Choy"

"Andy Serkis - Kong/Lumpy"

"Kyle Chandler - Bruce Baxter"

"Jamie Bell - Jimmy"

"Evan Parke - Hayes"

"Colin Hanks - Preston"

"Thomas Kretschmann - Captain Englehorn"

"Adrien Brody - Jack Driscoll"

"Jack Black - Carl Denham"

"Naomi Watts - Ann Darrow"

"Every movement in that film was about a human connecting with this huge beast who was one hundred per cent 'other'. Kong basically looks at Ann Darrow three times in that movie. It's all about the disconnect and him being this lonely, psychotic hobo who can't connect with other people."

"Perhaps as a consequence of the writers coming to this after three movies with their large Middle Earth ensemble (which included nine principal characters and plenty of supporting roles), the characters in King Kong are almost gratuitously well developed all around. The crew of the SS Venture is essentially made up of pulp archetypes, but unusually, they're all given enough screen time that they're not just Star Trek-style red shirts by the time they disembark on Skull Island."

"Q. I heard you actually referred back to the original's storyboards?"

"Although Naomi Watts makes a splendid heroine, there have been complaints that Jack Black and Adrien Brody are not precisely hero material. Nor should they be, in my opinion. They are a director and a writer. They do not require big muscles and square jaws. What they require are strong personalities that can be transformed under stress. Denham the director clings desperately to his camera, no matter what happens to him, and Driscoll the writer beats a strategic retreat before essentially rewriting his personal role in his own mind. Bruce Baxter (Kyle Chandler) is an actor who plays the movie's hero, and now has to decide if he can play his role for real. And Preston (Colin Hanks) is a production assistant who, as is often the case, would be a hero if anybody would give him a chance. The result is a surprisingly involving and rather beautiful movie -- one that will appeal strongly to the primary action audience, and also cross over to people who have no plans to see "King Kong" but will change their minds the more they hear. I think the film even has a message, and it isn't that beauty killed the beast. It's that we feel threatened by beauty, especially when it overwhelms us, and we pay a terrible price when we try to deny its essential nature and turn it into a product, or a target. This is one of the year's best films."

"There are astonishments to behold in Peter Jackson's new "King Kong", but one sequence, relatively subdued, holds the key to the movie's success. Kong has captured Ann Darrow and carried her to his perch high on the mountain. He puts her down, not roughly, and then begins to roar, bare his teeth and pound his chest. Ann, an unemployed vaudeville acrobat, somehow instinctively knows that the gorilla is not threatening her but trying to impress her by behaving as an alpha male -- the King of the Jungle. She doesn't know how Queen Kong would respond, but she does what she can: She goes into her stage routine, doing backflips, dancing like Chaplin, juggling three stones. Her instincts and empathy serve her well. Kong's eyes widen in curiosity, wonder and finally what may pass for delight. From then on, he thinks of himself as the girl's possessor and protector. She is like a tiny beautiful toy that he has been given for his very own, and before long, they are regarding the sunset together, both of them silenced by its majesty. The scene is crucial because it removes the element of creepiness in the gorilla/girl relationship in the two earlier "Kongs" (1933 and 1976), creating a wordless bond that allows her to trust him. When Jack Driscoll climbs the mountain to rescue her, he finds her comfortably nestled in Kong's big palm."

"Bates: Moving the film's location from Africa to the south sea islands doesn't remove the stigma visited upon the native people depicted in it, says Newsday's Jim Pinkerton. He says even subliminal messages in movies are important."

"Mr. Jim Pinkerton (Newsday): And for this movie to have been made in 1933 about white people going over to the Third World to capture a large, black being with a flat nose and bring him back in chains was sort of powerful then. And I was sort of surprised to see it getting remade, if anything, more politically incorrectly, in 2005."

"Bates: All three "King Kongs"--the classic 1933 version starring Fay Wray, the campy 1976 version starring Jessica Lange and the current epic by "Lord of the Rings" director Peter Jackson--feature a big, black ape who falls in love with a willowy white woman. The unspoken fear about black-white sexual relations has been remarked on by film historians and cultural critics ever since. The 1933 original stoked anxieties about black male hypersexuality. Kong snatches Ann Darrow up and makes off with her as she screams in horror. And the film's supposedly African natives--who offer the heroine up to the giant ape--came from what some critics called the ooga-booga(ph) school of thespian arts. Newsday columnist Jim Pinkerton says the 2005 "Kong", starring a dewy, blond Naomi Watts, shows the story line hasn't evolved all that much."

"The Abominable Snowman."

"There's only one creature capable of leaving a footprint that size."

"[at the killing ground, where the hundreds of Kong's victims have been left to rot] Good Lord, it's a bleeding boneyard! They've been ripped limb from limb!"

"Adventures on a tramp steamer, just like us!"

"[referring to Heart of Darkness] It's not an adventure story. Is it, Mr. Hayes?"

"[to Hayes, after being told to run if they encounter any danger] I'm not a coward. I ain't gonna run."