Casablanca (1942, reż. Michael Curtiz) Of all the gin joints, in all the towns, in all the world, she walks into mine.

Obywatel Kane (1941, reż.  Orson Welles) You don't care about anything except you. You just want to persuade people that you love 'em so much that they ought to love you back. Only you want love on your own terms. Something to be played your way, according to your rules.

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Wszystko o Ewie (1950, reż. Joseph L. Mankiewiczip) lder statesmen of the theatre or cinema assure the public that actors and actresses are just plain folks, ignoring the fact that their greatest attraction to the public is their complete lack of resemblance to normal human beings.

W samo południe (1952, reż. Fred Zinnemann)  People gotta talk themselves into law and order before they do anything about it. Maybe because down deep they don't care. They just don't care.

Deszczowa piosenka (1952, reż. Stanley Donen, Genne Kelly) If we bring a little joy into your humdrum lives, it makes us feel as though our hard work ain't been in vain for nothin'. Bless you all.

Okno na podwórze (1954, reż. Alfred Hitchcock) We've become a race of Peeping Toms. What people ought to do is get outside their own house and look in for a change. Yes sir. How's that for a bit of homespun philosophy?

Zawrót głowy (1958, reż. Alfred Hitchcock) Only one is a wanderer. Two together are always going somewhere.

Hiroszima, moja miłość (1959, reż, reż. Alain Resnais ) Sometimes we have to avoid thinking about the problems life presents. Otherwise we'd suffocate.

Osiem i pół (1963) I've figured out what you're trying to get at: a man's inner confusion. But you must be clear and get your point across. If what you have to say is interesting, it must be so for everybody. How can you not care if audiences understand? I'm sorry, but that's arrogant and presumptuous.