- Anthony: We don't know what the inner machinations of their mind are, or their heart. We don't know. But that's what we want to know when we go and see a film. We don't wanna just see life played out as is. We wanna see life as it is experienced, within this soft machine, within this...
- Julie: But the life of Tony and his mother, they're the lives of real people. I'm not- I'm not making that up.
- Anthony: Why are they more real than me?
- Julie: They're not more real than you.
- Anthony: Am I more real than you?
- Julie: No. I think we're all equal in that. I think we're all as real as each other. There's no competition. It doesn't matter that they're not real people. I mean, I'm not trying to make a documentary. I'm just- you know, I'm making a feature film.
- Anthony: Now, are you sure?
- Julie: Yes, I am. I'm making a feature film.
- [last lines]
- Elisa: When I am dead, my darling / Sing no sad songs for me / Plant thou no roses at my head / Nor shady cypress tree: / Be the green grass above me / With showers and dewdrops wet / And if thou wilt, remember / And if thou wilt, forget.
- [at a dinner party; Anthony has left the table]
- Patrick: You don't seem druggy to me.
- Julie: [smiling] No, I'm not, no, I'm not.
- Patrick: Interesting. So I'm trying to work out... where you two tessellate here.
- [Julie is wordless, confused]
- Patrick: I'm not good with euphemism, so...
- Julie: Sorry, I don't understand.
- Patrick: OK, so,
- [gestures to Anthony's vacant seat]
- Patrick: habitual heroin user,
- [gestures to Julie]
- Patrick: trainee Rotarian... which is a good look, I mean it nicely. How, what, why, when... ?
- Julie: [quietly stunned] Sorry, I don't...
- Patrick: You don't even dabble?
- Julie: No.
- Patrick: Okay. I mean, I don't, I feel it's very mainstream behavior. I've said to him, it's mainstream. I actually think, you know... I mean, it was fine in the '40s, but...
- [Julie is still speechless as Anthony returns]
- Anthony: I can't go into all this. It was an emergency.
- Julie: What fucking emergency?
- Anthony: If I hadn't done that on that day, I wouldn't be here now. I... That's all I can tell you.
- Julie: What's that supposed to mean? You can't say stuff like that and then not... I don't.. I appreciate there are some things you can't tell me.
- Anthony: Well, uh, you know, I appreciate there's things about me that you find unacceptable. There's things about you I find unacceptable. There's things about this conversation I find unacceptable. We're gonna have to meet somewhere.
- Julie: Days fading into nights, fading into day. Day and night creeping together to a gray nothingness - and no thought. Only each minute's fear of the next.
- Anthony: Uh, I mean, you know, we can all be sincere. We can all be authentic. But, um, what's it all for?
- Patrick: It's the ultimate form, because it's maximum cinema. It's movement, music, energy, color. Everything that film should be. And there's never been a good musical made in Britain, I don't think. I mean, there's been some Cliff Richard. You know, "Knees Up Mother Brown", whatever, but, you know, for a country that has the Stones, The Kinks, Small Faces, for there not to be a good musical here is just... It's almost impressive.
- William: Straight on. Straight ahead. Got to get over the barrier, though. It's a rather curious tradition we have in this house. It's meant to keep the dogs out, but actually it keeps people out.
- Anthony: [Julie crying] Please tell me what I've done. Please, because... This is punishing, seeing you like this and then not knowing why.
- Head of Film School: The most important thing, about learning in this situation, is that you somehow make a connection between your experience and the experience you're trying to film.
- Patrick: You have to listen to a lot of people who think they know about film. Telling you how to make a film, it's like telling someone how to breathe or how to think or... it's ridiculous. And there are no rules. I mean, you know the Tolstoy definition of art? Well, you just have a feeling, and by means of external signs you communicate it to someone else. That's it.
- Anthony: You've got some preconceived idea about some Oxbridge version of a film director and it's all bollocks. You just need to get out there and start filming.
- Rosalind: Please, please, please, darling, let the poor man go to sleep. And go to sleep yourself. These dull wits, they need a little bit of shut-eye.
- Head of Film School: Hitchcock knew this. I mean, he would change tack. I mean, if "Psycho", you know, the scene in - in "Psycho", the shower scene, is very much fragments - very much withholding. But then elsewhere, he's quite conventional. So he knows when to make those adjustments. Because it is a process, a growth, a building of our sensibilities and our perceptions, and we've got to realize that sometimes we have to change our approach as the journey unfolds.
- Radio Interviewer: It's great that you want to make a film in the town. Maybe you could tell us a little bit about it, please.