"One of the things about Episode One I was slightly disappointed by was, I thought it was very kind of flat. I think there's much more humor and there's much more color in Episode II: Attack of the Clones. I think it's more reminiscent of the original three Star Wars films than Episode I was."

"When I wrote [the backstory/Clone Wars], Iraq didn't exist."

"All democracies turn into dictatorships—but not by coup. The people give their democracy to a dictator, whether it's Julius Caesar or Napoleon or Adolf Hitler. Ultimately, the general population goes along with the idea. What kinds of things push people and institutions in this direction? That's the issue I've been exploring: how did the Republic turn into the Empire? ... How does a good person go bad, and how does a democracy become a dictatorship?"

"In a real sense, the films of the original trilogy were about something more than X-wing fighters, lightsabers, and Ewoks. The first two films of the new Star Wars trilogy, however, are not really about anything at all. The films altogether lack a coherent theme and thus have disappointed adult and even adolescent viewers. This film presents a complicated plot and state-of-the-art visual effects, but, without thematic interest, Clones fails to duplicate the original trilogy's appeal. Indeed, the new films even undermine the themes of the original trilogy, as Lucas appears to have been seduced by the dark side of technology. There is barely any natural world in Clones. Most of the screen is filled, most of the time, with computer-generated visual effects, and much of the action takes place on the planet Coruscant, which, like Trantor in Asimov's Foundation series, is one enormous, world-sized city. Technology is everywhere in this movie, and even the Jedi Knights appear to be completely dependent on it. Yoda, the Jedi master who lives as a hermit in a primitive hut in the Empire and the Jedi, is shown riding on a hovering mobility cart, at the center of the political action, and Obi-Wan Kenobi is stumped when the answers are not available in the library's database. In the end, the Jedi are only saved from annihilation by biotechnology—in the form of an army of clones, which is led by Yoda himself! If Lucas were a more subtle thinker, the portrayal of the Jedi in Clones might be taken as a sign of corruption in the Republic's last days. Indeed, the corruption of the Republic and its fall could have been a theme to speak to the Zeitgeist. Instead, the fall of the Republic is depicted as the result of the machinations of Darth Sidious, a master of the dark side of the Force. Sidious plays faction off against faction, employing a strategy of divide and conquer in pursuit of absolute power. All the other characters, including the hapless Jedi, are simply his dupes at every turn."

"War suits, at least initially, the greedy Trade Federation, which sees it as leading to the political victory of those who will reward their corporate backers. It also suits those (the Kaminoans—who care about "how big your pocketbook is" [Coruscant diner sequence]--and the Geonosians) who profit from armaments manufacture. And it suits ambitious politicians: not only Dooku, but also the Republic's Chancellor Palpatine (likely the deceptive outer face of Sidious), who is voted extraordinary dictatorial powers, by a fearful Senate, because of the threat of war. The film's ending makes clear both Lucas's political-economic critique and his anti-war stance: as we see the corporate-sponsored Dooku go from one hell setting (Geonosis) to another (the Blade-Runner-like industrial quarter of Coruscant), to a siren's song on the soundtrack, to report to Sidious that the desired war has now begun ("as planned," responds Sidious), and as the democratic Republic's Chancellor Palpatine oversees from a balcony the massing of a vast army of stormtroopers and war machines, to the ominous music of the Imperial March from The Empire Strikes Back."

"George is a product of Vietnam, not a product of Bush. [The political aspects of the Clone Wars] have been in the context of every script I've ever read—every draft—way before Bush became president..."

"The Clones Are Coming..."

"A Jedi Shall Not Know Anger. Nor Hatred. Nor Love."

"It is with great reluctance that I have agreed to this calling. I love democracy. I love the Republic. But I am mild by nature, and do not wish to see the destruction of democracy. The power you give me, I will lay down when this crisis has abated. And, as my first act with this new authority, I will create a grand army of the Republic to counter the increasing threats of the Separatists."

"I don't like sand. It's coarse and rough and irritating and it gets everywhere."

"To be angry is to be human."

"Our friends from the Trade Federation have pledged their support. And when their battle droids are combined with yours, we shall have an army greater than any in the galaxy. The Jedi will be overwhelmed. The Republic will agree to any demands we make."

"We must keep our faith in the Republic. The day we stop believing democracy can work is the day we lose it."

"There is unrest in the Galactic Senate. Several thousand solar systems have declared their intentions to leave the Republic. This Separatist movement, under the leadership of the mysterious Count Dooku, has made it difficult for the limited number of Jedi Knights to maintain peace and order in the galaxy. Senator Amidala, the former Queen of Naboo, is returning to the Galactic Senate to vote on the critical issue of creating an ARMY OF THE REPUBLIC to assist the overwhelmed Jedi...."

"Dan O'Herlihy — The Old Man"

"RoboCop, a futuristic story about a policeman shot to death and then revived after all parts of his body have been replaced by artificial substitutes, introduces a more tragic note: the hero who finds himself literally "between two deaths"—clinically dead and at the same time provided with a new, mechanical body—starts to remember fragments of his previous, "human" life and thus undergoes a process of resubjectivication, changing gradually back from pure incarnated drive to a being of desire. (...) [I]f there is a phenomenon that fully deserves to be called the "fundamental fantasy of contemporary mass culture," it is this fantasy of the return of the living dead: the fantasy of a person who does not want to stay dead but returns again and again to pose a threat to the living."

"The guys that shot me are part of the military-industrial complex. These ‘powers that be’ manage the police force and are also behind the cybernetic cop idea. They are also the people who are feeding the drug wars, so they can build more robots and fight the drug wars they themselves created! All these people are guilty-not only the people who shot me, but the people who made me, too. When they realize that Robo has found out the truth about them, they try to kill me."

"I worked with a mime for four months. We wanted to take a human being and transform him into a robot, walking in a suit in such a way that was stylized, attractive, yet computerized and the mechanical without being ‘mimelike.’ In essence, we wanted to have some humanity breathe through this robotic thing."

"I feel good about playing a robot in that I’m playing a human being who has been transformed into a cyborg. Aside from the action-adventure, the corruption, corporate machinery gone berserk and so on, the heart of all this is a morality tale. It’s like Beauty and the Beast, or the Tin Man of The Wizard of Oz. It’s a great little jewel of a human story."

"It’s certainly the most challenging role I’ve ever done. To bring that alive, much of it is thanks to Moni Yakim [the head of the Movement Department at Juilliard], Moni Yakim, the writers [Edward Neumeier and Michael Miner], and Paul Verhoeven. That quadrant of people all infused to make that thing, and Rob Bottin, the makeup artist, and Stephan Dupuis, the guy who put on the prosthetics. I dunno, that was just… I knew I was making a good film. When I met Paul Verhoeven in a hotel room in New York, I knew that, because Paul was directing it, it was going to be great. I knew it was going to have something of a moral opera in it and that he was not going to miss the universal morality in this. He was not going to just make an action movie. And it’s a very funny movie and a brilliant sort of social commentary. When I met Verhoeven, I’d seen all his movies, and I just knew he’d be fantastic. And to be feeling the feelings I felt when I met him… I mean, he was intimidating, but I knew that, with his expertise, he’d be executing something non-ephemeral and awakening certain aspects of social morality that’ll last. That movie will be around forever, man."

"Do you find Jesus in your films? “RoboCop” has a metaphor of Jesus. The reason I did it was because, for me, there were two metaphors. One is really Paradise Lost, which is when he comes to his house. He is already “RoboCop.” He doesn’t know who he is. He goes to his house and gets flashes of something wonderful that was there. His wife and his child, and the love of them. That’s lost paradise. He cannot touch, it but it was there. When I made it, this was important to me. It was the decision moment to me. I see this metaphor of Paradise Lost and standing at the Gates of Eden. The other metaphor, is that there is a resurrection. That is why he gets killed in an even more brutal way, because I felt that was a metaphor of crucifixion. Murphy gets killed and resurrects. He is dead and resurrected with another brain. It is very interesting if you read in the Gospels about Jesus being resurrected. He doesn’t say anything anymore. It is monosyllabic. But he, after resurrection, expresses himself monosyllabic with phrases of five or ten words. If you look at “Robocop,” that’s what he does. If you look at his eyes, you slowly start to see what he sees. Most things he says is, put down your weapon or whatever. At the end of the movie, because I was living in the United States, the metaphor is that he’s walking on water. In the front of the water there are the walls of an abandoned steel factory, where we shot. You can see the walls like the walls of Troy or Jerusalem. I put grit under the water so he could walk on water. To make him into an American Jesus, he turns to the bad guy and says, “I’m not going to arrest you anymore. I’m going to kill you.” That for me was the American Jesus."

"The future of law enforcement."

"Part Man. Part Machine. All Cop."

"Jon Davison — ED-209 (voice)"

"Edward Edwards - Manson"

"Nancy Allen — Officer Anne Lewis"

"Yolanda Williams — Ramirez"

"Del Zamora — Kaplan"

"S.D. Nemeth — Bixby Snyder"

"Gene Wolande — Prisoner"

"Mark Carlton — Ron Miller"

"Lee de Broux — Sal"

"Peter Weller — Officer Alex J. Murphy/RoboCop"

"Jesse D. Goins — Joe Cox"

"Paul McCrane — Emil Antonowsky"

"Ray Wise — Leon Nash"

"Robert DoQui — Sergeant Warren Reed"

"Miguel Ferrer — Bob Morton"

"Kurtwood Smith — Clarence Boddicker"