"[about his mother learning about trading the cow for the beans and beating him for it] Boy was she sore and now so is my ca-ca-ca- ass! Gee I wish I hadn't sold the cow just so I could suck on that gypsy's ti-ti-tits, [to his frog] Remember those tits, Froggy? [Froggy nods] Wow, those were the softest things I ev-ev-ev wow! [gets a boner] and those ni-ni-nipples oh boy that warm wet fu-fu-fuzzy little pu-pu-pussy, woo hoo hoo hoo shit, I get h-h-horny just thinking about her again w-w-wow!, watch out Froggy I'm gonna cu-cu-cu... [ejaculates out the window which splashes on the beans causing them to grow]"

"[after the judge asks her if she's really Mother Goose] You're fucking A right I am!"

"[after Little Red Riding Hood offers him money to let her pass] Screw thy shilling! Thy lush young body are trade for thy fare, sayeth I."

"[having sex with Little Red Riding Hood] Fucketh you harlot bitch, fucketh!"

"Jeff Bridges - Champagne / "Champ""

"Pedro Pascal - Jack Daniels / Agent Whiskey"

"Elton John - Himself"

"Channing Tatum - Agent Tequila"

"Halle Berry - Ginger Ale"

"Taron Egerton — Gary "Eggsy" Unwin / Galahad II"

"Mark Strong - Merlin"

"You know, my momma... she always told me, "Us Southerners get our good manners from the British." I was thinkin', "Ain't that a pity? Y'all ain't keepin' none for yourself.""

"Oh, that'll make you wanna slap your mama right there, boy."

"[After he and Harry stuff Whiskey into the meat grinder] Put Alpha Gel on that, dickhead."

"My drugs are everywhere. They were never my thing, but here I am, running the biggest drug cartel in the world. The only downside is having to live in the middle of nowhere. You know, these ruins are technically undiscovered. I just added a few touches to remind me of home. I grew up on all that awesome '50s nostalgia. Grease, American Graffiti, Happy Days. But I digress. The thing you need to understand is the hard work and ingenuity it took to achieve a global monopoly on the drug trade. And that's all on me. Not to toot my own horn. I just think it's really important for new recruits to understand the history of The Golden Circle."

"Hey, hey. Looking good, Merlin."

"Got the passes from my contact. You're gonna love Glastonbury."

"Colin Firth — Harry Hart / Galahad I"

"This ain't funny. Roxy is dead! Everyone's dead! Gone!"

"As one of our founding members said, "This is not the end. It is not the beginning of the end. But it is, perhaps, the end of the beginning.""

"Julianne Moore — Poppy Adams"

"Perhaps one would not be so disagreeably affected by this exercise in the lower regions of the psychopathic, were it handled in a more bluntly debased fashion. One does not, after all, waste much indignation on the Draculas and Mummies and Stranglers of the last few years."

"He [Powell] has got to the trick knife lovingly embedded in the throat, to the voyeur with sound effects, to a nauseating emphasis on the preliminaries and the practice of sadism - and I mean sadism. He did not write Peeping Tom; but he cannot wash his hands of responsibility for this essentially vicious film."

"Take me to your cinema."

"Instinct's a wonderful thing, isn't it, Mark? A pity it can't be photographed. [...] So, I'm listening to my instinct now. And it says all this filming isn't healthy, and that you need help."

"The silly bitch! She's fainted in the wrong scene!"

"Whatever I photograph, I always lose."

"Do you know what the most frightening thing in the world is? It's fear. So I did something very simple. Very simple. When they felt the spike... touching their throat, and knew I was going to kill them, I made them watch their own deaths. I made them see... their own terror as the spike went in. And if death has a face, they saw that too. But not you. I promised I'd never photograph you. Not you."

"I'm afraid. And I'm glad I'm afraid."

"Today, I find I am convinced that it is a masterpiece. If in some afterlife conversation is permitted, I shall think it my duty to seek out Michael Powell and apologise. Something more than a change of taste must exist."

"[Powell's reported reaction to Leo Marks' script] Michael said, "Oh, that's me, a man who kills people with his camera"."

"For a morbid desire to gaze is one of the commonest obsessions in life. Unfortunately Michael Powell's new film is just a clever but corrupt and empty exercise in shock tactics which displays a nervous fascination with the perversion it illustrates."

"The way you feel for this man who’s been tortured by his father and can’t help what he’s doing. Scorsese investigates that same area — they’re never heroes or villains in his movies, they’re something in between. And the critics at the time just couldn’t handle feeling sympathy for this serial killer. They wanted it to go away."

"Even brilliant colour photography by Otto Heller cannot reconcile me to a film as loathesome as this. It exploits fears and Inhibitions for the lowest motives. It trades In the self-same kind of obsession that it relates."

"Reading now what I wrote in 1960 I find that, despite my efforts to express revulsion, nearly everything I said conceals the extraordinary quality of Peeping Tom. See it, and spare a moment to respect the camerawork of Otto Heller."

"Annibale Ninchi - Marcello's father"

"Magali Noël - Fanny"

"- Maddalena"

"Lex Barker - Robert"

"Walter Santesso - Paparazzo"

"- Sylvia Rank"

"Desmond O'Grady - Himself"

"The world's most talked about movie today!"

"The Roman Scandals - Bound to shock with its truth!"

"Iris Tree - Herself"

"The film that shocked the critics...uncut, uncensored for all to see!"

"Valeria Ciangottini - Paola"

"Nico - Herself"

"I'll ask myself: What is my favorite film? Or I'll skew the question slightly: What film would I most like to see again right now? The answer would not be "Kane." … Right now, this moment, the answer that would spring most quickly to mind is Fellini's "La Dolce Vita" (1960). I've seen it, oh, at least 25 times, maybe more. It doesn't get old for me. Age has not withered, not custom staled, its infinite variety. I've grown so worked up just writing this paragraph that I want to slide in the DVD and start watching immediately. … I might add that it is one of the most visually fluid movies ever made, a movie that approaches music in its rushing passion, not simply because Nino Rota's score is one of the best ever recorded, but because the characters seem to move with music within them (joyful, lustful, exciting, doubtful, sad)."

"The Sweet Life."