"Radio Announcer: And now one for all the nostalgics out there. A blast from the past all the way back from 2003, that beautiful time when people refused to accept that the future was just around the corner."

"Newsreader: Day one thousand of the siege of Seattle. The Muslim community demands an end to the Army's occupation of mosques. The Homeland Security bill is ratified. After eight years, British borders will remain closed. The deportation of illegal immigrants will continue. Good morning. Our lead story. The world was stunned today by the death of Diego Ricardo, the youngest person on the planet. Baby Diego was stabbed outside a bar in Buenos Aires after refusing to sign an autograph."

"[his final words after being told the baby is a girl] A girl? I had a sister."

"I was carrying the baby up the stairs. I started crying. I'd forgotten what they looked like. They're so beautiful. They're so tiny. Julian was wrong! She thought it could be peaceful! But how can it be peaceful when they try to take away your dignity?"

"Syd was watching television last night with Mummy. She's a sweet old soul. Dying of cancer. It's heartbreaking. And then the news came on, and you two were on it. Something about a cop killer. Something about a big reward. Syd then finds out the Fishes are looking for you. So Syd thinks, "If the Fishes are looking for you, and the coppers are looking for you, you people are first class commodities.""

"All right. You're fugees now. Show Syd the fugee face. Sad face. Sad fugee face."

"Usually, there's people trying to get out of Bexhill, not in. Syd doesn't know why you want to get in. Syd doesn't want to know. Syd doesn't care."

"As the sound of the playgrounds faded, the despair set in. Very odd what happens in a world without children's voices. I was there at the end."

"I was 31. Midwife at the John Radcliffe. I was doing a stint in the antenatal clinic. Three of my patients miscarried in one week. Others were in their fifth and sixth month. We managed to save two of the poor babies. Next week, five more miscarried. Then the miscarriages started happening earlier. I remember booking a woman in for her next appointment and noticing that the page seven months ahead was completely blank. Not a single name."

"You know, when I started puking, I thought I catch the pest. But then my belly started getting big. Nobody ever told me these things. I never seen a pregnant woman before. But I knew. I felt like a freak. I didn't tell nobody. I thought about the Quietus thing. Supposed to be suave. Pretty music and all that. Then the baby kicked. I feel it. Little bastard was alive. And I feel it. And me, too. I am alive."

"You know that ringing in your ears? That 'eeeeeeee'? That's the sound of the ear cells dying. Like their swan song. Once it's gone, you'll never hear that frequency again. Enjoy it while it lasts."

"[to Kee] Your baby is the miracle the whole world has been waiting for."

"Everything is a mythical cosmic battle between faith and chance."

"I can't really remember when I last had any hope, and I certainly can't remember when anyone else did either. Because really, since women stopped being able to have babies, what's left to hope for?"

"Gregory Nicotero - Pvt. Johnson"

"Janeane Garofalo — Stith"

"Ken Campbell - Po"

"Charles Rocket - Firrikash"

"David Lander - Mayor"

"Christopher Scarabosio - Drej Queen"

"Jim Breuer - Cook"

"Tone Loc - Tek"

"Ron Perlman - Sam Tucker"

"John Leguizamo — Gune"

"Nathan Lane — Preed"

"Bill Pullman — Joseph Korso"

"Drew Barrymore — Akima"

"Matt Damon— Cale Tucker"

"The end product? Hmmmm...There's a lot of directors on this movie; although maybe the screen says directed by Joss Whedon, don't believe it. That movie has at least 8 directors on it, and it seems like a lot of them have had their 2 cents put in here and there, which can make a little bit of muddy water, and not quite clear in some places. I think the movie is entertaining and it will grab you and it does have some nice things to say. If I hadn't worked on the movie¿ Yeah, I'd probably still go see it. I think it'll do well, and I believe it will get into the black &#Array; which is a big deal. Is it my very favorite movie? No. I prefer that animation reach into places where live action doesn't go, and it seems like all of animation nowadays is trying to go where live action is."

"So we started into it, and we figured out that we were going to have to do CGI animation and Live-Action on screen at the same time. 65% of the picture is CGI. That's a big mix. When you marry those two, they can either look very foreign to each other, or they look like they belong together. That was one of our biggest challenges &#Array; to make them look OK together."

"The main problem I found was that the script really didn't have that much of a heart in it, so I guess that's where I applied my energies &#Array; to see if I could find something about Cale and Akima that I could like¿ Or a relationship between Cale and Korso that I could say, "Yeah, I know what these two guys are.""

"The Next Generation In Filmed Animation."

"When Earth ends, The Adventure Begins."

"Prepare for life after Earth."

"An adventure that begins where our world ends!"

"Get ready for the human race."

"Gaylen Ross - Francine"

"I found that this film actually did something a lot of modern zombie movies fail to do - surprise me; The characters had been so well established that I found myself saying "They won't kill him, he's too important." I felt this emphasized the point Romero himself says he tries to make in most of these films, which is that they are films about people and how they cope in tough situations, not zombies."

"A few weeks later, George ﬁnally decided which ending to use (we’re keeping it a secret) and he had worked up a beginning, which had worried him greatly. He was criticized in Night for having a deux ex machina – in that case a radioactive satellite – activate the zombies. Dawn will begin with a TV newscast – with the ﬁlm’s credits over – just announcing that the zombies are out and about. I called him up to suggest that recombinant DNA would be a good cause, but he wouldn’t hear of it. “I want it to be unexplained because the zombies really just come out of to rather than a third party. It just happens.”"

"“The sellouts,” he ﬁnally continued, “the scientific community is saying, ‘Let’s feed ’em. They’re wasteful. They eat only five percent of a body and then the body’s intact enough to revive and it comes back as a zombie. The government says we should feed them and control that pattern – which seems probably what those cats would do. So if someone has died in your family, cut them into meal-size bits.” He was roaring with laughter and the businessmen at breakfast around us began throwing odd looks toward our table. George wiped tears of laughter from his eyes and went on: “That’s probably the way it would go. My idea to take it further is to actually have human operatives that are trying to preserve their own kind of operative situation and in fact using the zombies initially, training them to serve their own needs. There are beginnings of that in Dawn. I show a few ﬂashes of intelligence or at least a learning capability in the zombies. If there are human sellouts that first start teaching them to do things so that they become really operative, then it’s over. But that is also what’s happening to us, those kinds of monsters, our corporate monsters that prey on us more as we fear them less. I mean, that’s this whole false security concept of the mall, being funneled into it, the temple to consumerism, the mall. And being perfectly happy, you know, absolutely lulled by it and yet eaten by it like that.”"

"Despite Romero’s avowal that he’s just making “comic books,” I reminded him, he gets very close to a message when he talks about “human sellouts” and “operatives” versus the “alternate society.”"

"I mentioned to him that I liked the mall better at night, that the zombies seemed to have more purpose than the shoppers. “That’s how I got the idea!” he said. “I know the people who own it and I went through the mall, empty, one time and I said, ‘Holy shit! That’s the perfect place for the fulcral episode where we can show the false security of the whole consumer America trip. That’s why this is in color – Night was black and white – because of the mall. So I wrote a little sketch about it and then put it in a drawer while I did some other things I’m really surprised no one else picked up on the idea, because now there are these shopping developments where you can live on top and work and shop down below and never have to leave the building. That’s a trip. In this ﬁlm, the mall becomes the cause. The four heroes get in there to get some Civil Defense water and food and then they rack out and this consumerism, it’s too tempting for them to resist. They arm themselves heavily, they become banditos fighting for all that stuff.” Are the bikers then supposed to be an antidote for them or are they actually an exaggeration of that; racing through the mall at l00 miles an hour and scooping up color TVs? “I think they’re the ultimate of what the heroes are becoming, ﬁghting for control of the Mothership. In fact, when they ﬁrst see the raiders, the bikers coming over the hill, Peter takes off his new watch and all his other shit and that’s a ﬂash toward realization. The raiders are consumerism at its extreme and they just storm in there and go bananas and then of course that causes the downfall. But the heroes, even though Roger is dying at that point, he still has his candies and radios and shit … and that’s why they’re so extreme in their garb during the attack scenes, all the crossed gun belts, fighting over microwave ovens, I mean…” He doubled over with laughter. Romero has a weird slant on the world, to say the least. With Night and Dawn he has filmed some of the most explicit violence imaginable and yet he can argue, convincingly, that it’s detached violence because it’s directed at things rather than people; that the zombies become merely so many insects to be swatted aside. At the same time, he’s starting to make the zombies smarter and more sympathetic because he genuinely likes them. On a set, he resembles a giant, bearded shepherd with his poor dead flock shuffling after him. Sometimes he refers to his zombies as “sharks,” which is a startling but dead-on comparison."

"“This is beginning to feel like Dachau,” a man beside me was saying later as we watched a zombie get his hand – very bloodily – cut off in a door. “This is far beyond Sam Peckinpah.” The man speaking was Gary Zellet, who supplied the weapons for the ﬁlm and handled explosives and breakaway special effects. Among many other projects, he worked on both Godfather ﬁlms. He is one of the few crew members not acting in the ﬁlm. “I didn’t want to,” he said, “this is getting depressing. Twenty gallons of blood used, animal intestines for the zombies to eat – this morning I was eating a corned barf sandwich and somebody said, ‘Hey that’s a prop.’ We use corned beef in some of the artiﬁcial arms. Real amputees volunteered, makes it look real. I’ve rigged over 500 bullet squibs. We kill ’em every possible way, burn ’em, shoot ’em blow their heads off. It’s good there’s some comic relief now and then because this movie runs like a machine gun."