"I knew from the beginning it would be a wonderful life experience to go through what this guy goes through. The script was unbelievable; when I read it, I thought, "I can see myself in it.""

"The fact that I finally, in the end, got to play him is a miracle for me."

"Anna Friel — Melissa Gant"

"I don't have delusions of grandeur, I have an actual recipe for grandeur."

"Time somebody shook up the free world and got things done."

"How many of us ever know what it is to become the perfect versions of ourselves?"

"Tomas Arana — Man in tan coat"

"They've identified these receptors in the brain that activate specific circuits. And you know how they say that we can only access twenty percent of our brain? Well, what this does, it lets you access all of it."

"Johnny Whitworth — Vernon "Vern" Gant"

"It was all bubbling up in my frontal lobes, mixing itself together into a sparkling cocktail of useful information."

"I wasn't high, I wasn't wired; just clear. I knew what I needed to do and how to do it."

"I was blind, but now I see."

"A tablet a day and what I could do with my day was limitless."

"Obviously, I miscalculated a few things. Why is it that the moment your life exceeds your wildest dreams, a knife appears at your back? Well, I'll tell you one thing: I will never let them touch me."

"For a guy with a four-digit I.Q., I must have missed something. And I hadn't missed much."

"I suddenly knew everything. About everything."

"In the end, how much worse could it get? [takes NZT-48 for the first time]"

"My brain was just pouring this stuff out. Everything I had ever read, heard, seen was now organized and available."

"All my fear, all my shyness, gone. But mere lounging wasn't enough. Only problem? If I wasn't moving forward, I felt like I was going to explode."

"Koichi Ueda — General Hyodo"

"The movie served as a strong political statement, representative of the traumas and anxieties of the Japanese people in an era when censorship was extensive in Japan because of the American occupation of the country after the war ended, Tsutsui said. The screen depicted what many could not explicitly say."

"Kōsuke Toyohara — Super X|Super X II controller"

"Yasuko Sawaguchi — Erika Shiragami"

"Kurt Cramer — John Lee, Bio-Major spy"

"“As the Americans did with many Japanese soldiers coming back to the homeland, they had them land in Hiroshima so the Japanese soldiers would see how thoroughly defeated Japan had been,” Tsutsui said. “It had a lifetime impact on him the horrors of what he saw, and he decided that he had an opportunity with this movie to set an important political message.”"

"When the monster Godzilla, or “Gojira,” appeared before Japanese movie audiences in 1954, many left the theaters in tears. The fictional creature, a giant dinosaur once undisturbed in the ocean, was depicted in the original film as having been aggravated by a hydrogen bomb. Its heavily furrowed skin or scales were imagined to resemble the keloid scars of survivors of the two atomic bombs that the U.S. dropped on Japan nine years earlier to end World War II. American audiences, however, had the opposite reaction, finding comedic value in what many interpreted as a cheesy monster movie. “Most Americans think if you left the movie in tears, it was just because you laughed so hard,” William Tsutsui, author of “Godzilla on My Mind: Fifty Years of the King of Monsters,” told NBC Asian America. The stark contrast reflects how Hollywood took the Japanese concept and scrubbed it of its political message before presenting it to American audiences to deflect from the U.S. decision to drop the bombs, critics say."

"Yasunori Yuge — Prime Minister"

"In the original, surprisingly solemn “Godzilla,” the monster was bottom-heavy. “It was the first costume they made, so they really hadn’t worked out the technology of it,” Mr. Tsutsui said in a phone interview. The costume’s framework was wire and bamboo strips, with latex around those elements. “There wasn’t much expressive possibility in that early monster, which I think captured some of the majesty of Godzilla.” With dorsal fins and a large tail, the creature was clearly threatening. Mr. Tsutsui said his makers were influenced by illustrations of dinosaurs, including an article in Life magazine. And Godzilla’s skin reminded Mr. Tsutsui of the scar tissue on the victims of the Hiroshima and Nagasaki atomic bombs. In writing the new screenplay, Max Borenstein was influenced by the original. “It had all these really deep and resonant themes about nuclear disaster and the fears of the atomic bomb, which were very present only nine years after World War II,” he said by phone. “I thought, ‘We need to do what they did, use this creature as a metaphor for a fear that’s very primal.' ”"

"Yoshiko Kuga — Owada, Prime Minister's wife"