"I would've taken it off sooner but I was having a fascinating conversation with the proud father of Norfolk's most sun-tanned child. Just passed his details on to the Social Services."

"Do I look like I suffer from panic attacks? I've had one panic attack in a car wash. It was a perfect storm of no sleep, no wife, and angry brushes whirring towards me. By the time the giant hair dryer came on, I was in the footwell."

"Michael. You look like some sort of big Geordie Anne Frank."

"Darren Boyd - Martin Fitch"

"Helen Martin - Bobby's Grandmother"

"Lou B. Washington - Tiny"

"Starletta DuPois - Bobby's Mother"

"Anne-Marie Johnson - Lydia / Willie Mae / Hooker"

"David McKnight - Uncle Ray"

"Craigus R. Johnson - Stevie Taylor"

"Keenen Ivory Wayans - Donald / Jheri Curl"

"Casting Director: Relax! But I need some tension at the same time. But not too relaxed. But don't forget to give me sparkle."

"Sam Ace: I knew exactly what she could do. And she did too. As she walked towards me, I saw that twinkle in her eyes. I knew it was time - to do the nasty. And I like - doin' the nasty. She was a good kisser; but her breath was stinky. But so what? You don't get rid of a Rolls Royce because it has a dent in it. I had never done it before on my desk. I was just glad to be on top. I'd hate to. do the nasty with a stapler up my ass."

"Jheri Curl: Please! Gimme my activator!"

"Protestor: I think Bobby Taylor is a two-bit goat smellin' spook, obviously from the Coon Repertoire Theater of America. We are out here sweatin' like niggas on the way to an election in Georgia because he chooses to bug his eyes, yank his dick, and pull his raggedy skid marked drawers out the cracka his Black ass! I have nothing else to say about Bobby Taylor!"

"The guy from the Dirty Larry clip: What you say, honky sucker pig-head jive-turkey fool?"

"Uncle Ray: There ain't nothin to it but to do it."

"Dirty Larry - the movie where the crooks wait for Larry to go in his jacket, pull out a big ass gun. What'd they think he was lookin' for? His American Express card? Damn! We both gave "Dirty Larry" the finger!"

"NAACP spokesman: They'll never play the Rambos until they stop playing the Sambos."

"Robert Townsend - Bobby Taylor / Jasper / Speed / Sam Ace / Rambro"

"Tyrone: I didn't like this movie at all. First of all, it was the fact that I couldn't say the title. I get tired of titles I can't pronounce and shit. If you want people to come and see it, a muthafucker got to be able to tell his woman where he's gonna take her."

"I have the respect of the community, and that makes me proud...So if you can't take pride in your job, remember, there's always work at the post office.."

"Bobby, this ain't the 'Poot Butt League', man...ain't no 'Poot Butts' around here. This is not your average hot dog stand You know what this is? This is 'Winky Dinky Dog.' It sends chills up my spine every time I say it - Winky Dinky Dog! Bobby...say it with me...Winky Dinky Dog! WINKY DINKY DAAWWGG!"

"I believe this movie. A dude could jump off a mountain and not hurt himself, 'cause he did brace himself, and knew something about the levels of gravitivity and polarity."

"Lisa Mende - Casting Director"

"Dom Irrera - Mandrill Man Vacuum"

"Brad Sanders - Batty Boy"

"John Witherspoon - Mr. Jones"

"Eugene Robert Glazer - Director of Jivetime Jimmy's Revenge / Instructor / Amadeus / Chicago Jones / Dirty Larry"

"Gaston Modot - Edouard Schumacher"

"Julien Carette - Marceau"

"Pierre Magnier - The General"

"Mila Parély - Geneviève de Marras"

"Anne Mayen - Jackie"

"Marcel Dalio - Robert de la Cheyniest"

"Roland Toutain - André Jurieux"

"Jean Renoir - Octave"

"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."

"I wanted to depict a society dancing on a volcano."

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

"Nora Gregor - Christine de la Cheyniest"

"Paulette Dubost - Lisette"

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

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

"Telling lies is such a heavy weight to bear."

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

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