"Oi, fish-face! [Davy Jones stares at the jar over his head in confusion] Loose something, eh? Scungeli! It- oh- [Jack Topples over down the deck's stairs, the crew cringes; he holds up the jar] Got it! [stands back up] Come to negotiate, eh, have you, ya slimy git? Look what I got! [sings childishly while the crew all exchange confused looks] I got a jar of di-irt! got a jar of di-irt! And guess what's inside it?"

"We have our heading."

"You can mistrust me less than you can mistrust him. Trust me."

"Why is the rum always gone? [Stands up and then staggers] Oh. That's why."

"Where's that monkey? I want to shoot something!"

"[Cotton's parrot: Rawk! Walk the plank!] WHAT DID THE BIRD SAY?!"

"Just when you thought it was safe to go back into the departure lounge!"

"For the ride of your life... All you need for Christmas are your two front seats!"

"[to Elaine] We're not in the past or the present anymore, Elaine. This... is the FUTURE."

"By the close of the twentieth century, construction of colonies on the lunar surface had begun and with this colonization came a new era in space travel. As our story opens, Mayflower 1, the first passenger shuttle to the moon, prepares for its maiden voyage--a voyage filled with hope, yet destined for disaster. Meanwhile, in a galaxy far, far away, Princess Amoura lay back in her bed as the handsome young knight entered the room. The princess slipped off her robe, revealing her silky white thighs. The knight embraced her roughly, and began to caress her soft, round…"

"Raymond Burr - Judge D.C. Simonton"

"William Shatner - Murdock"

"Chuck Connors - The Sarge"

"Peter Graves - Captain Clarence Oveur"

"Chad Everett - Simon Kurtz"

"Lloyd Bridges - Steven McCroskey"

"Julie Hagerty - Elaine Dickinson"

"Robert Hays - Ted Striker"

"Mark Hamill — Luke Skywalker"

"Coming May 25, 1983 to your galaxy. [Second Advance poster]"

"The Empire falls..."

"The saga continues..."

"Return to a galaxy... far, far away."

"I have a son who’s about your age and part of the Star Wars generation. So he was my most intimate link to the Star Wars saga. So that meant that what I was able to bring to the Star Wars saga, which the other directors couldn’t since they were dealing with a younger generation, was a certain kind of modern maturity, which you couldn’t have had in Star Wars [Episode IV], because you would have lost a lot of people. I was able to entertain the little kids with the Ewoks and all the stuff that made them feel safe, but I was able, at the same time, to give young adults the kind of things they’re looking for, which is a lot of excitement, a lot of showmanship. But they are also looking for true relationships and genuine emotions. I think that’s what has always been in the Star Wars saga, but I was really able to bring that out and make it work. I think that’s what Return Of The Jedi had that the others didn’t have. I’m not criticising the others: they simply weren’t ready for it."

"Star Wars meant a lot to young people around the world – young people who were around six, seven and eight years old, and older as well. Those people grew up. So when they saw The Empire Strikes Back, they were a little bit more mature. By the time I came along to direct Return Of The Jedi, they were 18. 19 and 20."

"You can see here the Death Star orbiting the forest moon of Endor. Although the weapon systems on this Death Star are not yet operational, the Death Star does have a strong defense mechanism. It is protected by an energy shield, which is generated from the nearby forest moon of Endor. The shield must be deactivated if any attack is to be attempted. Once the shield is down, our cruisers will create a perimeter, while the fighters fly into the superstructure and attempt to knock out the main reactor. General Calrissian has volunteered to lead the fighter attack."

"Luke Skywalker has returned to his home planet of Tatooine in an attempt to rescue his friend Han Solo from the clutches of the vile gangster Jabba the Hutt. Little does Luke know that the GALACTIC EMPIRE has secretly begun construction on a new armored space station even more powerful than the first dreaded Death Star. When completed, this ultimate weapon will spell certain doom for the small band of rebels struggling to restore freedom to the galaxy..."

"The Emperor has made a critical error and the time for our attack has come. The data brought to us by the Bothan spies pinpoints the exact location of the Emperor's new battle station. We also know that the weapon systems on this Death Star are not yet operational. With the Imperial fleet spread throughout the galaxy in a vain effort to engage us, it is relatively unprotected. But most important of all, we have learned that the Emperor himself is personally overseeing the final stages of the construction of his Death Star. Many Bothans died to bring us this information."

"James Earl Jones — Darth Vader"

"Frank Oz — Yoda"

"Alec Guinness — Obi-Wan Kenobi"

"David Prowse — Darth Vader"

"Ian McDiarmid — Emperor Palpatine"

"/ — Anakin Skywalker"

"Peter Mayhew — Chewbacca"

"Anthony Daniels — C-3PO"

"— Lando Calrissian"

"Carrie Fisher — Leia Organa"

"Harrison Ford — Han Solo"

"Frank Oz — Yoda"

"As for the idea of the Force, it is a mishmash of current cultic fashions without any base in ideas. It doesn't seem to be connected with ethics or a code of decent behavior, either. Shywalker (sic) is never called to account for having behaved unpleasantly to his guru (Yoda) before knowing who he is -- even to the extent of knocking food out of the hungry guru's hand. How many religions of any kind would tolerate a disciples having refused to share his food with his disguised spiritual leader?"

"I knew in the making of Empire that this was to be the second of a trilogy. Therefore I considered it the second act, the second movement—but it wouldn’t have the same climax that an ordinary film would have, where it sets up a premise, moves along, there is a payoff with a grand climax of some kind of action. The action in this film came at the beginning because it is a continuation of the first film."

"Fans have written over the last 30 years telling me how eagerly they awaited the second film of the trilogy. I hadn’t realized how many young children would be seeing the film, and how it would affect them. I think the kids responded to the movement, the characters, and the fairy tale quality of the film. The humor helped make the film appealing to more mature audiences as well."

"I think the critics felt that they were going to see an extension of Star Wars. In other words, they wanted another Star Wars. I decided that the potential was much greater than a rerun of Star Wars. When I finally accepted the assignment, I knew that it was going to be a dark film, with more depth to the characters than in the first film. It took a few years for the critics to catch up with the film and to see it as a fairy tale rather than a comic book."

"The geek world, the scholars of Stars Wars, can tell you what scripts exist. I do not know. I’ve heard that. But what I know is when I came in to Empire and when I actually started to work, George said, “You know, Darth is Luke’s father.” And I said, “No shit?” So it was a total surprise to me and I thought wonderful. That to me was when the whole thing got really interesting and I thought, This thing’s going to be so much more complicated than I thought. It’s going to speak to things that I relate to very strongly and everybody who’s had to deal with their issues with their father, and this is really a mythic presentation of those things. And we’ve seen since then endless world catastrophes based on father problems. That’s why I think the saga is always going to be so interesting."