WOLSEY: You opposed me in the Council this morning, Thomas.
MORE: Yes, Your Grace.
WOLSEY: You were the only one.
MORE: Yes, Your Grace.
WOLSEY: You’re a fool.
MORE: Thank God there is only one fool on the Council.
Quotations by:
Bolt, Robert
MORE: I must in fairness add that my taste in music is reputedly deplorable.
HENRY: Your taste in music is excellent. It exactly coincides with my own.
Robert Bolt (1924-1995) English dramatist
A Man for All Seasons, play, Act 1 (1960)
(Source)
Bolt's 1966 film adaptation uses the same language.
ROPER: So, now you’d give the Devil the benefit of law!
MORE: Yes! What would you do? Cut a great road through the law to get after the Devil?
ROPER: Yes, I’d cut down every law in England to do that!
MORE: Oh? And when the last law was down, and the Devil turned ’round on you — where would you hide, Roper, the laws all being flat? This country is planted thick with laws, from coast to coast — Man’s laws, not God’s — and if you cut them down — and you’re just the man to do it — d’you really think you could stand upright in the winds that would blow then? Yes, I’d give the Devil benefit of law, for my own safety’s sake.
Robert Bolt (1924-1995) English dramatist
A Man for All Seasons, play, Act 1 (1960)
(Source)
Bolt's 1966 film adaptation uses the same language, with slightly variant punctuation. As well, the film ends the scene here, where the play continues with further dialog. (Source (Video); dialog verified.)
MORE: If we lived in a State where virtue was profitable, common sense would make us good, and greed would make us saintly. And we’d live like animals or angels in the happy land that needs no heroes. But since in fact we see that avarice, anger, envy, pride, sloth, lust and stupidity commonly profit far beyond humility, chastity, fortitude, justice and thought, and have to choose, to be human at all … why then perhaps we must stand fast a little — even at the risk of being heroes.
Robert Bolt (1924-1995) English dramatist
A Man for All Seasons, play, Act 1 (1960)
(Source)
Spoken to his family while in the Tower of London, awaiting trial. In the 1966 film adaptation, this is shortened:If we lived in a State where virtue was profitable, common sense would make us saintly. But since we see that avarice, anger, pride and stupidity commonly profit far beyond charity, modesty, justice and thought, perhaps we must stand fast a little -- even at the risk of being heroes.
MORE: Why not be a teacher? You’d be a fine teacher. Perhaps even a great one.
RICH: And if I was who would know it?
MORE: You, your pupils, your friends, God. Not a bad public, that.
Robert Bolt (1924-1995) English dramatist
A Man for All Seasons, play, Act 1 (1960)
(Source)
More trying to convince Rich not to seek a public or political office (because of the corrupting influences he would face).
Rendered almost identically into the 1966 film adaptation.MORE: Why not be a teacher? You’d be a fine teacher, perhaps a great one.
RICH: And if I was who would know it?
MORE: You. Your pupils. Your friends. God. Not a bad public, that.
MORE: (looks at him: takes him aside: lowered voice) Have I your word, that what we say here is between us and has no existence beyond these walls?
NORFOLK: (impatient) Very well.
MORE: (almost whispering) And if the King should command you to repeat what I have said?
NORFOLK: I should keep my word to you!
MORE: Then what has become of your oath of obedience to the King?
NORFOLK: (indignant) You lay traps for me!
MORE: (now grown calm) No, I show you the times.
Robert Bolt (1924-1995) English dramatist
A Man for All Seasons, play, Act 1 (1960)
(Source)
In Bolt's 1966 film adaptation, this is slightly shortened:MORE: (arrests him; makes a display of looking about, conspiratorial) Have I your word that what we say here is between us two?
NORFOLK: (impatient) Very well.
MORE: And if the King should command you to repeat what I may say?
NORFOLK: I should keep my word to you!
MORE: Then what has become of your oath of obedience to the King?
NORFOLK: (sorts this out; then, astounded) You lay traps for me!
MORE: No, I show you the times.
MARGARET: Father, that man’s bad.
MORE: There is no law against that.
ROPER: There is! God’s law!
MORE: Then God can arrest him.Robert Bolt (1924-1995) English dramatist
A Man for All Seasons, play, Act 1 (1960)
(Source)
Bolt's 1966 film adaptation uses the same lines. (Source (Video); dialog verified.)
WOLSEY: The King wants a son; what are you going to do about it?
MORE: (dry murmur) I’m very sure the King needs no advice from me on what to do about it.
WOLSEY: That thing out there’s at least fertile, Thomas.
MORE: But she’s not his wife.
WOLSEY: No, Catherine’s his wife and she’s barren as brick. Are you going to pray for a miracle?
MORE: There are precedents.
Robert Bolt (1924-1995) English dramatist
A Man for All Seasons, play, Act 1 (1960)
(Source)
Referring to Anne Boleyn, whom King Henry VIII wants to marry pending to a divorce from his present wife, Catherine of Aragon.
In Bolt's 1966 film adaptation (Source (Video); dialog verified), nearly the same lines are used:WOLSEY: That thing out there; at least she's fertile.
MORE: But she's not his wife.
WOLSEY: No, Catherine's his wife and she's barren as a brick; are you going to pray for a miracle?
MORE: There are precedents.
MORE: Well … I believe, when statesmen forsake their own private conscience for the sake of their own public duties … they lead their country by a short route to chaos.
Robert Bolt (1924-1995) English dramatist
A Man for All Seasons, play, Act 1 (1960)
(Source)
Speaking to Wolsey about why he opposes Henry taking a new wife, even if the alternative is another civil war.
Bolt's 1966 film adaptation uses nearly the same line (starting out with "Well ... I thin that when ..."). (Video (Source); dialog verified.)
MORE: When a man takes an oath, Meg, he’s holding his own self in his hands. Like water (cups hands) and if he opens his fingers then, he needn’t hope to find himself again.
Robert Bolt (1924-1995) English dramatist
A Man for All Seasons, play, Act 2 (1960)
(Source)
Answering to his daughter Margaret, who is trying to convince him to swear to the Act of Succession so that he can be freed from the Tower. In the 1966 screenplay, the same dialogue is used.
MORE: I will not take the oath. I will not tell you why I will not.
NORFOLK: Then your reasons must be treasonable!
MORE: Not “must be”; may be.
NORFOLK: It’s a fair assumption!
MORE: The law requires more than an assumption; the law requires a fact.
Robert Bolt (1924-1995) English dramatist
A Man for All Seasons, play, Act 2 (1960)
(Source)
The 1966 film adaptation uses the same language.
NORFOLK: I’m not a scholar, as Master Cromwell never tires of pointing out, and frankly I don’t know whether the marriage was lawful or not. But damn it, Thomas, look at those names … You know those men! Can’t you do what I did, and come with us, for friendship?
MORE: And when we stand before God, and you are sent to Paradise for doing according to your conscience, and I am damned for not doing according to mine, will you come with me, for friendship?
Robert Bolt (1924-1995) English dramatist
A Man for All Seasons, play, Act 2 (1960)
(Source)
In Bolt's 1966 film adaptation, this is shortened:NORFOLK: I'm not a scholar, I don't know whether the marriage was lawful or not. But damn it, Thomas, look at these names! Why can't you do as I did, and come with us, for fellowship?
MORE: And when we die, and you are sent to heaven for doing your conscience, and I am sent to hell for not doing mine, will you come with me, for fellowship?
MORE: You threaten like a dockside bully.
CROMWELL: How should I threaten?
MORE: Like a Minister of State, with justice!
CROMWELL: Oh, justice is what you’re threatened with.
MORE: Then I’m not threatened.
Robert Bolt (1924-1995) English dramatist
A Man for All Seasons, play, Act 2 (1960)
(Source)
Bolt's 1966 film adaptation uses the same language.
MORE: I do none harm, I say none harm, I think none harm. And if this be not enough to keep a man alive, in good faith I long not to live.
Robert Bolt (1924-1995) English dramatist
A Man for All Seasons, play, Act 2 (1960)
(Source)
After he has been condemned, speaking his mind about the Supremacy Act, but denying any malice.The 1966 film adaptation uses the same language.
CRANMER: Then the matter is capable of question?
MORE: Certainly.
CRANMER: But that you owe obedience to your King is not capable of question. So weigh a doubt against a certainty — and sign.
MORE: Some men think the Earth is round, others think it flat; it is a matter capable of question. But if it is flat, will the King’s command make it round? And if it is round, will the King’s command flatten it? No, I will not sign.
Robert Bolt (1924-1995) English dramatist
A Man for All Seasons, play, Act 2 (1960)
Bolt's 1966 film adaptation uses the same language.
MORE: Now listen, Will. And, Meg, you know I know you well, you listen too. God made the angels to show him splendour — as he made animals for innocence and plants for their simplicity. But Man he made to serve him wittily, in the tangle of his mind! If he suffers us to fall to such a case that there is no escaping, then we may stand to our tackle as best we can, and yes, Will, then we may clamour like champions — if we have the spittle for it. And no doubt it delights God to see splendour where he only looked for complexity. But it’s God’s part, not our own, to bring ourselves to that extremity! Our natural business lies in escaping.
Robert Bolt (1924-1995) English dramatist
A Man for All Seasons, play, Act 2 (1960)
(Source)
In Bolt's 1966 film adaptation, this takes place in a slightly different and is slightly shortened:MORE: Listen, Meg, God made the angels to show Him splendor, as He made animals for innocence and plants for their simplicity. But Man He made to serve Him wittily, in the tangle of his mind. If He suffers us to come to such a case that there is no escaping, then we may stand to our tackle as best we can, and, yes, Meg, then we can clamor like champions, if we have the spittle for it. But it's God's part, not our own, to bring ourselves to such a pass. Our natural business lies in escaping.
CROMWELL: Yet is there a man in this court, is there a man in this country, who does not know Sir Thomas More’s opinion of this title? Of course not! But how can that be? Because this silence betokened — nay, this silence was — not silence at all, but most eloquent denial!
MORE: (with some of the academic’s impatience for a shoddy line of reasoning) Not so, Mr. Secretary, the maxim is “qui tacet consentire”: The maxim of the law is: (very carefully) “Silence Gives Consent .” If therefore you wish to construe what my silence “betokened,” you must construe that I consented, not that I denied.
CROMWELL: Is that in fact what the world construes from it? Do you pretend that is what you wish the world to construe from it?
MORE: The world must construe according to its wits. This court must construe according to the law.
Robert Bolt (1924-1995) English dramatist
A Man for All Seasons, play, Act 2 (1960)
(Source)
During More's treason trial for, without giving a reason, refusing to take an oath that the King of England also held the title "Supreme Head of the Church in England."
Bolt's 1966 film adaptation uses nearly the same lines (Source (Video); dialog verified):CROMWELL: Yet is there a man in this court, is there a man in this country, who does not know Sir Thomas More's opinion of this title?
GALLERY: No!
CROMWELL: Yet how can this be? Because this silence betokened -- nay, this silence was -- not silence at all, but most eloquent denial!
MORE: Not so. Not so, Master Secretary, the maxim is "qui tacet consentire": The maxim of the law is "Silence Gives Consent." If therefore you wish to construe what my silence "betokened," you must construe that I consented, not that I denied.
CROMWELL: Is that in fact what the world construes from it? Do you pretend that is what you wish the world to construe from it?
MORE: The world must construe according to its wits. This court must construe according to the law.
The fourth and most important difference between a novel and a film (or play) is that when the reader tires of a novel he can mark his place, put it down, and return to it later. But the attention of an audience must be held continuously. There must be an unbroken progression. It may be progression of the emotion or the thought or the action, but emotion and thought must issue in action or threaten to. In a dramatic medium such as film the characters cannot pause to propound ideas and emotions not directly relevant to their own dramatic situation. In the middle of War and Peace Tolstoy can plant a substantial essay on the nature of military power. In a film script one unnecessary page, one page not furthering the progression, will lose the attention of the audience for the next ten.
Robert Bolt (1924-1995) English dramatist
Doctor Zhivago: The Screenplay, “Author’s Note” (1965)
(Source)
YEVGRAF: I told myself it was beneath my dignity to arrest a man for pilfering firewood. But nothing ordered by the Party is beneath the dignity of any man. And the Party was right: one man desperate for a bit of fuel is pathetic; five million people desperate for fuel will destroy a city.
Robert Bolt (1924-1995) English dramatist
Doctor Zhivago, film (1965)
(Source)
Watching Yuri scavenging wood from a fence.
This line is not in the 1957 Boris Pasternak novel.
YEVGRAF: Happy men don’t volunteer. They wait their turn, and thank God if their age or work delays it.
Robert Bolt (1924-1995) English dramatist
Doctor Zhivago, Part 1, film (1965)
(Source)
On army recruitment. This line is not in the 1957 Boris Pasternak novel.
CORPORAL: [trying to copy Lawrence’s snuffing a match with his fingers] Ow! It damn well ‘urts!
LAWRENCE: Certainly it hurts.
CORPORAL: Well what’s the trick then?
LAWRENCE: The trick, William Potter, is not minding if it hurts.
Robert Bolt (1924-1995) English dramatist
Lawrence of Arabia, Part 1, sc. 18 (1962) [with Michael Wilson]
(Source)
(Source (Video)). In the actual film, the last line is given, "not minding that it hurts."
MURRAY: If you’re insubordinate with me, Lawrence, I’ll put you under arrest!
LAWRENCE: It’s my manner, sir.
MURRAY: What?
LAWRENCE: My manner, sir. It looks insubordinate, but it isn’t really.
MURRAY: I can’t make out whether you’re bloody bad-mannered or just half-witted.
LAWRENCE: I have the same problem, sir.
MURRAY: Shut up!
LAWRENCE: Yes, sir.
Robert Bolt (1924-1995) English dramatist
Lawrence of Arabia, Part 1, sc. 38 (1962) [with Michael Wilson]
(Source)
In the movie, the dialog is nearly identical:MURRAY: If you're insubordinate with me, Lawrence, I shall put you under arrest.
LAWRENCE: It's my manner, sir.
MURRAY: Your what?
LAWRENCE: My manner, sir. It looks insubordinate, but it isn't really.
MURRAY: Well, I can't make out whether you're bloody bad-mannered or just half-witted.
LAWRENCE: I have the same problem, sir.
MURRAY: Shut up.
LAWRENCE: Yes, sir.
DRYDEN: Lawrence, only two kinds of creatures get “fun” in the desert: Bedouins (his gaze wanders round the photographs of silent sun-scorched figures and the fragments of stone) — and gods. And you’re neither. Take it from me, for ordinary men, it’s a burning, fiery furnace.
LAWRENCE: (very quietly) No, Dryden, it’s going to be fun.
DRYDEN: (rather sourly) It is recognized that you have a funny sense of fun.
Robert Bolt (1924-1995) English dramatist
Lawrence of Arabia, Part 1, sc. 49 (1962) [with Michael Wilson]
(Source)
LAWRENCE: (calling after him) Sherif Ali, so long as the Arabs fight tribe against tribe, so long will they be a little people. A silly people! Greedy, barbarous, and cruel — as you are!
Robert Bolt (1924-1995) English dramatist
Lawrence of Arabia, Part 1, sc. 106 (1962) [with Michael Wilson]
(Source)
After Sherif Ali has killed the Arab guide Lawrence was using for being of the wrong tribe to use one of the Harith tribe's wells.
LAWRENCE: I — killed — two people, I mean two Arabs. One was a boy — this was yesterday. … I led him into a quicksand. The other was a man — that was, oh let me see — before Akaba anyway — I had to execute him with my pistol. … There was something about it I didn’t like.
ALLENBY: Well, naturally.
LAWRENCE: No. Something else.
ALLENBY: I see. Well that’s all right. Let it be a warning.
LAWRENCE: No. Something else.
ALLENBY: What then?
LAWRENCE: I enjoyed it.
Robert Bolt (1924-1995) English dramatist
Lawrence of Arabia, Part 1, sc. 621-623 (1962) [with Michael Wilson]
(Source)
The above is from the Bolt shooting script. The actual movie sequence has slightly different language and intonation in Lawrence's first line:I killed two people, I mean, two Arabs. One was a boy. That was -- yesterday. I led him into a quicksand. The other was a man. That was -- before Aqaba, anyway. I had to execute him with my pistol. There was something about it I didn't like.
DRYDEN: If we’ve told lies you’ve told half-lies … And a man who tells lies — like me — merely hides the truth. (softly) But a man who tells half-lies … has forgotten where he put it.
Robert Bolt (1924-1995) English dramatist
Lawrence of Arabia, Part 2, sc. 189 (1962) [with Michael Wilson]
(Source)
Speaking to Lawrence about the Sykes-Picot Agreement, dividing the Turkish Empire between French and English interests, and its betrayal of their Arab allies.
FEISAL: Young men make wars — and the virtues of war are the virtues of young men — courage and hope for the future. Then old men make the peace, and the vices of peace are the vices of old men — mistrust and caution.
Robert Bolt (1924-1995) English dramatist
Lawrence of Arabia, Part 2, sc. 411 (1962) [with Michael Wilson]
(Source)