"You have to understand, it's the plight of all heroes today. In the air, they're terrific. But when they come back to earth, they're weak, poor, and helpless."

"Friendship with a man? That's asking for moonlight at midday."

"A laughing woman is disarmed, you can do what you like."

"That's also part of the times, today everyone lies."

"You tried to better me by making me a servant. I'll never forget it."

"Excuse me. You know you're no fool; you're a poet, a dangerous poet."

"[to Schumacher] I have no choice but to dismiss you. It breaks my heart, but I can't expose my guests to your firearms. It may be wrong of them, but they value their lives."

"Throughout the entire last part of The Rules of the Game the camera acts like an invisible guest wandering about the salon and the corridors with a certain curiosity, but without any more advantage than its invisibility. The camera is not noticeably any more mobile than a man would be (if one grants that people run about quite a bit in this château). And the camera even gets trapped in a corner, where it is forced to watch the action from a fixed position, unable to move without revealing its presence and inhibiting the protagonists. This sort of personification of the camera accounts for the extraordinary quality of this long sequence. It is not striking because of the script or the acting, but as a result of Renoir’s half amused, half anxious way of observing the action.No one has grasped the true nature of the screen better than Renoir; no one has successfully rid it of the equivocal analogies with painting and the theater. Plastically the screen is most often made to conform to the limits of a canvas, and dramatically it is modeled after the stage. With these two traditional references in mind, directors tend to conceive their images as boxed within a rectangle as do the painter and the stage director. Renoir on the other hand, understands that the screen is not a simple rectangle but rather the homothetic surface of the viewfinder of his camera. It is the very opposite of a frame. The screen is a mask whose function is no less to hide reality than to reveal it."

"Gabriel Kakon - John MacLeod"

"Raoul Trujillo - Senghi Khan"

"Jean-Pierre Perusse - Khabul Khan"

"Daniel Do - Dr. Fuji Takamura"

"Mario Van Peebles - Kane"

"Deborah Kara Unger - Dr. Alexandra Johnson / Sarah Barrington"

"Christopher Lambert - Connor MacLeod / Russell Nash"

"Martin Neufeld - Lt. John Stenn"

"This time it's for eternity."

"Mako Iwamatsu - Nakano"

"One man was chosen to protect all that is good. Now an enemy from the past journeys time to challenge him in the present."

"[to Connor, about his son, John] It seems while I've been the master of illusion, you have been the master of deception. I always thought Immortals couldn't have children. What was it like convincing all those women you loved, that they were the ones unable to have a child?"

"[to Connor] You've already lost. Let your soul guide your sword."

"This doesn't make sense. They were all dead, the Prize was mine. How did this happen?"

"Centuries ago one man was chosen to protect all that is good."

"Pete Antico - Corda"

"Peter Bucossi - Reno"

"Throughout time they have hunted each other fulfilling the prophecy, that there can be only one."

"From the dawn of time we came, moving silently among you, down through the centuries...immortals. I'm Connor MacLeod of the clan MacLeod, the Highlander. After the death of my friend Ramírez and my beloved wife Heather, I left my home in the Highlands of Scotland and began to wander the world, searching for answers. Finally I came to Japan, to the mountains of Niri, and the cave of the sorcerer Nakano."

"Rusty Schwimmer - Drunk"

"Ed Trucco - Jimmy"

"Philipp Brock - Cabbie"

"Steven Grives - Hamlet"

"Jimmy Murray - Horatio"

"The final conflict."

"John C. McGinley - David Blake"

"It's a kind of magic."

"Christopher Lambert - Connor MacLeod"

"It's time for a new kind of magic."