- Herself (segment "Dollygirls"): [Edna O'Brien] You meet a boy now, or a man, and you don't really have to protest about your virginity. In fact, it will be a great disappointment to him if you say, you know, it's the first time, I mean he'll leave the room.
- Herself (segment "Dollygirls"): The other thing that makes a woman free now is, I suppose, money. They have money and they can work so the dependence on a man isn't as great. But the thing that makes her very un-free and always will, I imagine, is although she has a sort of vagrant heart, a woman does tend to like being with one man even if it's only for three months. She's not as content, I think, going from bed to bed.
- Herself (segment "Dollygirls"): You've always got decadent people but what is so strange now is that the most gifted, the most articulate and the most thinking, conscious people are decadent because of the time in history that they're alive in. And there's nothing else you can say to that unless you're God and if you're God you can say, "it's alright, I won't drop the bomb".
- Herself (segment "Dollygirls"): I do. I believe in female promiscuity except that it happens a different way that a woman probably likes to shack up with a man for three months and then with another man whereas a man would like to shack up for an evening. And I think there's still this awful, and I wish we didn't have it, because it's such a handicap, this thing of, falling in love. You know, it's such a nuisance. And I think women, no man will agree to this but I'm sure it's true, women are more devoted and committed to the notion of falling in love and therefore they fall in love, than men are because it is the one territory of adventure that a woman has. She can't go across bloody Africa, or if she does she'll become pregnant or, or anyhow she can't. She just can't yet. And maybe never will.
- Herself (segment "Protest"): [Vanessa Redgrave] We're here and there are people in other places who at this very second aren't here and aren't anywhere and why we write and why we act and why we sing is because we're alive and to the dead, what we write and what we sing and what we say is of no use at all. So because Fidel's revolution brought life and words and paintings to people but most of all life, I'm speaking from him and from José Marti who wrote the words for a song that was later made, that has become famous and that you all know and I hope you will sing it. Cuba! Cuba! Estudio, Trabajo, Fusil! Alfabetizar, alfabetizar! Venceremos! Cuba! Cuba! Estudio, Trabajo, Fusil. Alfabetizar, alfabetizar! Venceremos!
- [she continues and then sings Guantanamera]
- Himself (segment "It's All Pop Music"): [Andrew Loog Oldham] I'm proud of most things. Whether the proudness remains is whether they happen or they don't happen. The biggest thing, naturally, is The Rolling Stones. But one never sits around saying I'm proud of that because there's always tomorrow.
- Himself (segment "It's All Pop Music"): [Mick Jagger] Well, It seems strange to say because if I say the violence of it, which is one part, which if you ask most young people they'd say they don't like the violence; they don't like the war or they don't like that. They, themselves, are violent. which doesn't seem to make sense.
- interviewer: No, it seems you're encouraging them.
- Himself (segment "It's All Pop Music"): But it's, I suppose, I don't think, I don't think you have to be violent to overcome it. But some people do and when they're violent against the police, it's just their way, the only way, they have of showing it. Because they're not organised.
- interviewer: How would you organise them?
- Himself (segment "It's All Pop Music"): I wouldn't want to organise them. I don't feel I'm a leader of them, whoever we're talking about.
- Himself (segment "It's All Pop Music"): If you're a realist and if you see the world as you think it is, as it really is, you try and see it as it really is, you can be just as angry and write from anger. But I don't think "Oh, I'm screwed up, I must write a song about that". It doesn't happen like that.
- Himself (segment "It's All Pop Music"): It's just a luck of people liking what you do. It's not a secret of anything. It's just doing the best you can and putting everything you've got into it and hoping people will like it. There's no real secret to that. Either people do like it or they don't. As long as people know about. They have to know that you exist which is a very important part, if you're somebody new, starting out in pop music. Everyone has to know you exist and once they know you exist and they hear what you have to offer either they like you or they don't. And if they don't like you which happened to us in America when we, people knew about us, but they didn't like us, they didn't buy our records until "Satisfaction" which was a really big record.
- Himself (segment "It's All Pop Music"): Well because I just feel part of the thing that started off, I suppose. Because and I feel part of the people that, I won't, this isn't the first generation that's questioned the moral values of the last generation but I think it's one of the first generations which has not had to worry about the material things, 'cos if you're hungry you haven't really got much time to worry about morals. When I say morals, I mean like fighting wars, and whether this is right or that is right for this society to do that, If you're hungry and if your stomach is full of food you can start worrying about them. And this is what's happened. There's people who will worry and worry more and have less and less work to do as the years go on, they won't have hardly any work to do because there will be machines to do it for them, which has already happened. And so they will have to work, like four hours a day, and the rest of the time they're going to have to do something else.
- interviewer: What is that something else?
- Himself (segment "It's All Pop Music"): That something else isn't going to be what people think. It isn't going to be just jumping around and swimming and just reading books and going to movies because they're very, you get very bored with those things, very quickly.
- interviewer: What's it going to be?
- Himself (segment "It's All Pop Music"): Well, we don't know, that's the problem. I hope it's going to be something good. I don't know.
- Herself (segment "Movie Stars"): [Julie Christie] Everything's happened to me and I haven't happened to anything. Things have happened to me. I think I'd better start happening to something. And one thing after another has happened to me, I mean it's quite incredible, actually. It's the most extraordinary thing. I don't know how it's happened. I think it's going to stop any minute.
- Herself (segment "Movie Stars"): Did you have me saying I didn't like that Sidney Lumet one? You will be kind, won't you? Not secure enough that I can lose parts yet.
- Herself (segment "Movie Stars"): I suppose the pop, it goes back to the Beetles, I mean isn't it? You know, we were lucky enough that they were quite cool and hip. And there weren't an awful lot of cool, hip people around, not a majority. And that they became idols and like any idol they were copied. So, that's why London perhaps is now cool and hip.
- Herself (segment "Movie Stars"): Oh, I think it's super thing. Terrific. I mean, it's not only associated with the idea of freedom. That's... from there goes on to be an idea of pleasure, in a way. And I think people are sort of having a good time, maybe when I say a majority, I don't know because one only knows a certain group of people and maybe it's a minority. But it seems to me that a good time is much easier had by all now than ever before. Pleasure's I think terrific. Fine. And if you haven't got anything else then you're lucky you've got that.
- interviewer: What do you love?
- Herself (segment "Movie Stars"): The sun, I'm terribly superficial, you know. Terribly. Sunflowers, good book, cats. I love strong relationships, there you are. Of any sort.
- Herself (segment "Movie Stars"): The sort of thing in cinema of, oh it's exhausting, of this working up so that your two, three second take is at absolutely the right pitch of emotion however low or high it is. You have to work yourself up, 'cos what I mean, whatever you're doing you have to be in some sort of state of emotion for it to be able to do it and not be yourself, just talking. And that sort of constant screwing up, of hitting the right note without testing anywhere. And then, you know of course, on stage you start and you hit along, testing all the time. That is for me is one of the main things, one of the main differences. I enjoy it very much all that sort screwing up of nerves and energy and everything to go bonk. But then I love working up to something and feeling it's coming and sort of flowing or not going, that as well. Something you miss.
- Herself (segment "Movie Stars"): No I went away to, of all places, the Canary Islands after Dr. Zhivago. All by myself and didn't talk to anyone for a week. Which was marvelous. Terrific. Like being a child again. Lovely, you know. Time to indulge all your fantasies and daydreams. Almost become religious again.
- interviewer: Why, were you religious?
- Herself (segment "Movie Stars"): Well, I went to a convent. Well. everybody's religious when they're little, aren't they?
- Herself (segment "Movie Stars"): A lot of people I think, that middle age is the time, I would have thought, when you're right for happiness.
- interviewer: You're not right for happiness now?
- Herself (segment "Movie Stars"): Oh, certainly not. Not that sort of happiness, you know.
- Himself (segment "Movie Stars"): [Michael Caine] You see we don't want to get drunk or go out and what is properly known as womanising until 2 o'clock in the morning. What we want is the freedom to do so, should we wish. We don't want a lot of rules and regulations. To me, the pubs closing at 11 o'clock and more expensive clubs keeping open later is the most condescending piece of class consciousness I've ever heard. It's to keep the workers out of the pubs so that they're not drunk and up late for work in the morning. This was the original idea of it for the munitions factories in the First World War.
- Himself (segment "Movie Stars"): To me, I'm not a Puritan by any means or a moralist. But to me, the idea for instance of short skirts and things like that, this seems to be... we seem to be selling our morals in return for a mess of cultural pottage, in a way. Short skirts, for instance, are a sexual thing in order to show as much of a girl's legs as possible. Erm, topless dresses in America, where in order to show as much of the other half as possible. To me, I, we seem to have lost a certain amount of moral fibre, I suppose you'd call it. But that's only in comparison with other English people, I know for instance a very English attitude is one erm, if an Italian touches a girl up in the street in Rome, it's because they're all very sexy, hot-blooded, passionate, Latin peoples; if an Englishman does it, he's a dirty rogue and should be fined £5 immediately and be taken into court. And the English have two sets of standards which they set for themselves and others, you know. If a Frenchman comes up and asks a girl if she wants to get laid, that's romantic, If an Englishman does it, she says what do you think I am, a prostitute?
- interviewer: How do you do it?
- Himself (segment "Movie Stars"): Well, I certainly never ask. I take a lesson from Vance Packard and use hidden persuaders!
- Himself (segment "Movie Stars"): [he laughs]
- Himself (segment "Movie Stars"): Which, of course, is very modern.
- interviewer: Do you use pop art?
- Himself (segment "Movie Stars"): Yes, pop art or anything. Pop art seduction. Erm, I would say that to really practise pop art seduction, you have to be a movie star because, or something of that kind, or rock and roll star. Or at least you have to be amongst the first two hundred people on the Aldermaston march.
- Himself (segment "Painting Pop"): [David Hockey] What I do find is very sexy is the the new four-penny stamp of the footballers kicking their legs up.
- Himself (segment "Painting Pop"): The point is, those things are rather meaningless in a way, aren't they? For instance, I mean, if next week this country did collapse but on the very day it collapsed, you met your absolute true love, you wouldn't give two hoots about the bloody place collapsing, would you? I mean, you know, you'd think all's right with the world, if we have a sandwich and a glass of beer, it doesn't matter. I mean that in a way, they're that meaningless, aren't they?
- Himself (segment "Painting Pop"): Because, I mean, in comparison with Bradford, I suppose it is a kind of swinging place but I mean in comparison with lots and lots of other cities it seems to me, I mean I think of London now, sometimes like I used to think of Bradford. When I first came to London, I thought oh, it's so much better than Bradford but now when I go to America I think of London like Bradford - it's so much better here.
- Himself (segment "Painting Pop"): In some ways, it's much more democratic you see and that's why London, I don't think, will ever really be what you'd call a swinging place. You see its night life in London, you need too much money for it and because of that you can't go in any place and meet a plumber from Camberwell whereas in New York you could. I mean, you could go in a bar and meet the equivalent, a plumber from Brooklyn could be sat at the next stool and some other guy, you know, a movie maker from Hollywood could be sat on the next stool. I mean, it just, that can happen. Here it just doesn't.
- Himself (segment "Painting Pop"): Do you know Eric Burdon? The Animals. Well, I think it was on a television programme. Have I told you this story? Now, I mean, he's a musician in London, isn't he? We were talking about America, as a matter of fact. He said he didn't like it really at all. And he gave, he told me this story as a story against America. And he said, he was in New York and he was with a policeman, you see, a cop. I supposed it's a bit different for him, being a singer and he thought people might attack him or something. But anyway, they went in this bar and there was music playing, you see there was a jukebox, and the cop said to the guy behind the bar "Can you dance in here?" And they said, "Sure". So he hung up his gun and started dancing with a girl. And Eric Burdon said this was terrible, he said that cop is the sort of cop who'd take a backhander and money and this that and the other. And he thought it was terrible. Well I thought it sounded marvellous. I mean really it's kind of like ideal for a musician. I said it simply proved they're more art lovers there. He was affected by the music when he went into the bar. The idea of him hanging up a gun, I thought was terrific but he thought it was terrible. Well, I suppose, I mean, in a way, maybe lots of other people in London would think that situation was terrible, if he did. Would they? But it's hardly the story you'd say to run down America, is it? I wouldn't think so. If it'd happened to me, if it happened to me, I would always be telling it, saying what a great place it was.