"Look, what does a capitalist do? Let me ask you that, Mike. Huh? Tell me. I mean, what does he make, besides money? I don't know what he makes. The workers do all the work, don't they? Well, what if they got organized?"

"Jan Triska - Karl Radek"

"John J. Hooker - Senator Overman"

"Oleg Kerensky - Alexander Kerensky"

"Stuart Richman - Leon Trotsky"

"Roger Sloman - Vladimir Lenin"

"All right, Miss Bryant, do you want an interview? Write this down. Are you naïve enough to think containing German militarism has anything to do with this war? Don't you understand that England and France own the world economy and Germany just wants a piece of it? Keep writing, Miss Bryant. Miss Bryant, can't you grasp that J. P. Morgan has loaned England and France a billion dollars? And if Germany wins, he won't get it back! More coffee? America'd be entering the war to protect J. P. Morgan's money. If he loses, we'll have a depression. So the real question is, why do we have an economy where the poor have to pay so the rich won't lose money?"

"Dave King - Allan L. Benson"

"Nancy Duiguid - Jane Heap"

"Gene Hackman - Pete Van Wherry"

"Dolph Sweet - Big Bill Haywood"

"Kathryn Grody - Crystal Eastman"

"Leigh Curran - Ida Rauh"

"Harry Ditson - Maurice Becker"

"George Plimpton - Horace Whigham"

"Max Wright - Floyd Dell"

"Bessie Love - Mrs. Partlow"

"Ian Wolfe - Mr. Partlow"

"M. Emmet Walsh - Speaker – Liberal Club"

"William Daniel - Julius Gerber"

"Nicolas Coster - Paul Trullinger"

"Gaby Hoffmann - Jessica"

"Mommy got sick. And it happened just like that. There was nothing anybody could do. It isn't fair. There's no reason. But if we start asking why, we'll go crazy."

"Move on. Right. That's what I'm going to do. In a few months, I'll be fine, I'll just grow a new heart."

"Look, we had a tough time at first, but we're dealing with it. Jonah and I will get along fine again...as soon as I break his radio."

"Jonah, listen to me. You don't know Victoria. I hardly know her myself. She is a fat mystery to me. She tosses her hair a lot. Why does she do this? I have no idea. Is it a twitch? Does she need a haircut? Should she use a barrette to keep her hair out of her face? These are things I'm willing to get to the bottom of. And that is why... I am DATING her. That's all I'm doing. I'm not living with her. I'm not marrying her. Can you appreciate the difference? This is what single people do. They try other people on and see how they fit. But everybody's an adjustment. Nobody's perfect. There's no such thing as a perfect... [Annie walks in. Sam sees her for the first time, loses his train of thought, and stops talking]"

"Destiny is something we've invented because we can't stand the fact that everything that happens is accidental."

"Shut up, shut up?! Mom never said shut up to me! Mom never yelled at me!"

"Verbal ability is a highly overrated thing in a guy, and it's our pathetic need for it that gets us into so much trouble."

"Look, Annie... I love you. But let's leave that out of this. I don't want to be someone that you're settling for. I don't want to be someone that anyone settles for. Marriage is hard enough without bringing such low expectations into it, isn't it?"

"What if someone you never met, someone you never saw, someone you never knew was the only someone for you?"

"Tom Hanks - Sam Baldwin"

"Meg Ryan - Annie Reed"

"Bill Pullman - Walter"

"Ross Malinger - Jonah Baldwin"

"Rosie O'Donnell - Becky"

"Victor Garber - Greg"

"Rita Wilson - Suzy"

"Barbara Garrick - Victoria"

"Carey Lowell - Maggie Baldwin"

"David Hyde Pierce - Dennis Reed"

"Dana Ivey - Claire Bennett"

"Rob Reiner - Jay"

"Kevin O'Morrison - Cliff Reed"

"Caroline Aaron as Dr. Marcia Fieldstone"

"This just might do nobody any good. At the end of this discourse a few people may accuse this reporter of fouling his own comfortable nest, and your organization may be accused of having given hospitality to heretical and even dangerous thoughts. But I am persuaded that the elaborate structure of networks, advertising agencies, and sponsors will not be shaken or altered. It is my desire, if not my duty, to try to talk to you journeymen with some candor about what is happening to radio and television in this generous and capacious land."

"On March 9, 1954, in a broadcast that has been called television’s finest hour... The show prompted more than 10,000 phone calls and 70,000 letters and telegrams — 15 to 1 in favor of Murrow. On the street, truck drivers yelled out, “Good show, Ed!” On December 2, 1954, the Senate formally reprimanded McCarthy by a vote of 67 to 22 for conduct unbecoming a senator. In speaking truth to power, Murrow hastened McCarthy’s downfall and may have been pivotal in it. Good Night, and Good Luck functions on several levels. It is a cautionary tale about unrestrained political power and its use of public hysteria. It is also a tribute to the power of a dissenting media to expose and correct injustice. As such, the movie reproaches today’s journalism that embraces safety."

""Good Night, and Good Luck" couldn't be more unlikely, more unfashionable or more compelling. Everything about it stands in stark opposition to the trends of the moment. Yet by sticking to events that are half a century old, it tells a story whose implications for today are inescapable. "Good Night" is a marvel of classic restraint in a hopped-up film culture. Shot in elegant black and white and featuring impeccable acting, it exists because of the lonely passion of director and co-star George Clooney... the son of a TV anchorman. That made him determined to examine in some detail the stand CBS newsman Edward R. Murrow took in 1954 against Senator Joseph McCarthy. Clooney had the nerve to believe that a drama of ideas could be as entertaining as "Desperate Housewives." He insisted that a fight for America's soul, a clash of values over intellectual issues like freedom of the press, had an intensity that would carry everything before it, and it does."

"I'm terrified of waking up at 65 years old, which is getting closer, and to wake up and say I didn't do the things that I was supposed to do... as a citizen... As someone who is well-known... I can help bring focus... And I try to, as a son of a journalist, when I take on those causes, to be really well informed so that they can't marginalize you or make you an idiot along the way."

"Murrow taking on McCarthy was one of the great high points in broadcast journalism, along with Cronkite stepping out from behind his desk and talking about how Vietnam doesn't work were two moments in broadcast journalism that you could point directly to and say actually changed American policy... I don't know a reporter that doesn't want to break a big news story. It is constantly the battle between commerce and news, or keeping entertainment from pushing the news off the air... I was looking to open a debate, to have a discussion, to be able to talk about issues that I think are important. It's simply saying, as Murrow says in the film, we have to find a way to find a safe place between the protection of the individual and the protection of the state at the same time."