"Emmanuel Goldstein: [His finals words were recorded for the "Two Minutes Hate" before his execution...] What is freedom? Nothing the Party says is true. Nothing the Party does is good. Even the war itself isn't real. The Party wants you to believe we are at war so as to channel your aggressions away from their rightful target: the Party. Big Brother is not real. He is pure fiction created by the Party. The real rulers of the State are unknown, faceless manipulators who, because they are not known, are able to wield power without let or hindrance. People of Oceania, you are being duped. The Party doesn't serve the people — it serves itself. We are not at war with Eurasia. So, what is freedom? You are being made into obedient, stupid slaves of the Party. Open your eyes. See the evil that is happening to you. The Party drops bombs on its own citizens. It is the Party, not the Eurasians, who are our enemies. Rise up. Throw off the yoke. You have nothing to lose, and everything to gain, people of Oceania. [He is executed by a firing squad.]"

"Tom Parsons: Keep away from me, Smith. I’m an agent of Goldstein. I didn’t know it myself. Thoughtcrime is so insidious. It just creeps up on you. My daughter found it out. Very proud of her. Very grateful I’ve been discovered before it’s too late. They won’t shoot me, will they, Smith? I know I can be very useful in a labour camp...!"

"Harold Syme: It’s a beautiful thing, the destruction of words. You won't have seen the 10th dictionary edition yet, Smith. It's [indicates size with his thumb and index finger] that thick. The 11th edition will be [decreases size to small] that thick. The secret’s to move from translation, to direct thought, to automatic response. No need for self-discipline. Language coming from [points at his throat] here, not from [points at his temples] here."

"The world we are preparing, Winston, is of constant victory and constant triumph. You are beginning to accept it, you'll soon welcome it, and, finally, become a part of it."

"You once asked me, Winston, what was in room 101. I told you that you knew already. Everyone knows. The thing that is in room 101... is the worst thing in the world."

"Obedience is not enough. Power is inﬂicting pain and humiliation; otherwise, you cannot be sure. Power is tearing human minds apart, and putting them together again in new shapes of your own choosing. Power is not a means, it is an end. In our world, there will only be triumph and self-abasement. Everything else, we shall destroy. The past is forbidden. Why? Because when we can cut man from his own past, then we can cut him from his family, his children, other men. There is no loyalty, except loyalty to the Party. There is no love, except love of Big Brother. All competing pleasures, we will destroy. If you want a vision of the future, Winston, imagine a boot stamping on a human face—forever."

"We shall meet in the place where there is no darkness."

"I love you."

"Do it to her! Do it to Julia! I don’t care what you do to her, but do it to her! Tear her face off! Do it to Julia, not to me! DO IT TO JULIA! DO IT TO JULIA!!!! Not me!"

"[Entry in his forbidden diary] Freedom is the freedom to say two plus two equals four. If that is granted all else will follow."

"[Reads from Goldstein's book] "In accordance to the principles of doublethink, it does not matter if the war is not real, or when it is, that victory is not possible. The war is not meant to be won. It is meant to be continuous. The essential act of modern warfare is the destruction of the produce of human labour. A hierarchical society is only possible on the basis of poverty and ignorance. In principle, the war effort is always planned to keep society on the brink of starvation. The war is waged by the ruling group against its own subjects, and its object is not victory over Eurasia or Eastasia, but to keep the very structure of society intact." [notices Julia is asleep] Julia? Are you awake? There is truth, and there is untruth. To be in a minority of one doesn't make you mad. Julia, my love, I understand how, but I don't understand why."

"Was there ever a time when this was ordinary?"

"We are the dead."

"[Reciting Under the Spreading Chestnut Tree] Under the spreading chestnut tree, I sold you, you sold me."

"Thoughtcrime is death. Thoughtcrime does not entail death. Thoughtcrime IS death. I have committed even before setting pen to paper the essential crime that contains all others unto itself."

"[Entry in his forbidden diary] If there is hope, it lies in the proles. If they could become conscious of their own strength, they would have no need to conspire. History does not matter to them."

"[First entry in his forbidden diary] April 4, 1984... I think. To the past or to the future, to an age when thought is free, from the Age of Big Brother, from the Age of the Thought Police, from a dead man --- greetings!"

"This is our land --- a land of peace, and of plenty; a land of harmony and hope. This is our land: Oceania. These are our people: the workers, the strivers, the builders. These are our people --- the builders of our world, struggling, ﬁghting, bleeding, dying --- on the streets of our cities, and on the far-ﬂung battleﬁelds, ﬁghting against the mutilation of our hopes and dreams. Who are they? [images of protesters appear; a crowd chants "Eurasia, Eurasia."] They are the dark armies --- the dark, murdering armies of Eurasia. In the barren deserts of Africa and India, in the oceans of Australasia, courage, strength, and youth are sacrificed --- sacrificed to barbarians whose only honour is atrocity. But even as we grasp at victory, there is a cancer, an evil tumour, growing, spreading in our midst. [Image of Goldstein appears] Shout. Shout! SHOUT OUT HIS NAME!"

"The night is darkest just before the dawn. And I promise you, the dawn is coming."

"Ritchie Coster as Chechen"

"Ng Chin Han as Lau"

"Eric Roberts – Sal Maroni"

"Morgan Freeman – Lucius Fox"

"Katie Holmes – Rachel Dawes"

"Gary Oldman – Lieutenant/Commissioner James Gordon"

"Michael Caine – Alfred Pennyworth"

"Aaron Eckhart – Harvey Dent/Two-Face"

"Heath Ledger – The Joker"

"Christian Bale – Bruce Wayne/Batman"

"Some men just want to watch the world burn."

"If you are good at something never do it for free."

"I believe, whatever doesn't kill you, simply makes you... stranger."

"I'm an agent of chaos."

"Out of the darkness…comes the Knight."

"Can you avenge evil without becoming it?"

"Welcome to a world without rules."

"I believe in Harvey Dent."

"Why So Serious?"

"The Dark Knight is that most uncommon of movie sequels, as virtuous as The Godfather II or Aliens: it doesn't just expand a previous storyline, it immeasurably enriches it by adding shadings of character development and moral complexity that were only hinted at in Batman Begins, the 2005 series rethink by director Christopher Nolan, who rescued Bob Kane's comic book creation from camp hell."

"More important than this, however, is the idea that Batman is not just a guy in a suit, but a symbol and there are people in the film most notably The Joker who want to destroy that symbol. While Batman's identity remains secret and his motives unknown to Gothamites, he represents hope in a city that has little to spare and embodies a pursuit of justice and further, a code of behavior that quite literally threatens these criminals' way of life. By throwing Gotham into chaos and testing the limits to which Batman holds himself, The Joker is not merely plying death and destruction but willfully destroying the philosophical foundations of organized society. The closest such examination another comic book-oriented film has ever attempted was the emotional throughline of the Spider-Man films. Peter Parker's struggle was almost exclusively personal, whereas Wayne not only has to find a way to maintain his moral compass, but consider what the repercussions of his heroism are to both the public and the criminals themselves."

"“Batman” isn’t a comic book anymore. Christopher Nolan’s “The Dark Knight” is a haunted film that leaps beyond its origins and becomes an engrossing tragedy. It creates characters we come to care about. That’s because of the performances, because of the direction, because of the writing, and because of the superlative technical quality of the entire production. This film, and to a lesser degree “Iron Man,” redefine the possibilities of the “comic-book movie.” “The Dark Knight” is not a simplistic tale of good and evil. Batman is good, yes, The Joker is evil, yes. But Batman poses a more complex puzzle than usual: The citizens of Gotham City are in an uproar, calling him a vigilante and blaming him for the deaths of policemen and others. And the Joker is more than a villain. He’s a Mephistopheles whose actions are fiendishly designed to pose moral dilemmas for his enemies. The key performance in the movie is by the late Heath Ledger, as the Joker. Will he become the first posthumous Oscar winner since Peter Finch? His Joker draws power from the actual inspiration of the character in the silent classic “The Man Who Laughs” (1928). His clown's makeup more sloppy than before, his cackle betraying deep wounds, he seeks revenge, he claims, for the horrible punishment his father exacted on him when he was a child"

"Pitched at the divide between art and industry, poetry and entertainment, it goes darker and deeper than any Hollywood movie of its comic-book."

"Breaking from a more sprightly, brightly-colored tradition of comic book films best exemplified by Sam Raimi’s Spider-Man pictures, Nolan nudged the genre in the direction of hard realism. Bale’s Batman doesn’t behave like a valiant defender of the defenseless, rather like a hard-nosed cop unencumbered by legal codes of conduct. The Joker, a role that enshrined Heath Ledger in myth following his untimely passing, is no mere super villain, either. He’s an ideological deviant, referred to at least once in the script directly as a “terrorist”, compelled only by the love of violence and chaos. His agenda is chilling in its indifference; he gleefully sets a mountain of money ablaze in full view of the crooks he took it from, just to show them that this is a war fought on principle. He’s the closest thing to nuance that the DC rogues’ gallery has ever seen, and characteristic of a film founded in social theory. The Joker’s grand evil scheme? Sociology thought experiments … made real!"

"Commissioner James Gordon: Goddammit, will you stop pointing that gun at my family?!"

"[to Dent] You know what I've noticed? Nobody panics when things go "according to plan," even if the plan is horrifying. If tomorrow, I tell the press that, like, a gangbanger will get shot, or a truckload of soldiers will be blown up, nobody panics, because it's all "part of the plan." But when I say that one little old mayor will die — well then, everyone loses their minds! Introduce a little anarchy, upset the established order, and everything becomes chaos. I'm an agent of chaos. Oh, and you know the thing about chaos? It's fair!"

"[to Dent] Do I really look like a guy with a plan? You know what I am? I'm a dog chasing cars. I wouldn't know what to do with one if I caught it! You know, I just... do things."

"[to Batman] Don't talk like you’re one of them! You're not! Even if you'd like to be. To them, you're just a freak, like me. They need you right now, but when they don't, they'll cast you out, like a leper. See, their "morals," their "code"? It's a bad joke, dropped at the first sign of trouble. They're only as good as the world allows them to be. I'll show you. When the chips are down, these, ah, "civilized people"? They'll eat each other. See, I'm not a monster. I'm just ahead of the curve."