Lyon Burke: Did you know you are the most beautiful girl that ever left lipstick in my office?
Anne Welles: You like women, don’t you?
Lyon Burke: I like career girls. We’re compatible.
Anne Welles: It’s said they don’t make good wives.
Lyon Burke: I’m not looking for a wife. Some men just don’t pull well in double harness.
Anne Welles: You’re fortunate. You know yourself. I don’t know who I am or what I want. I only know I have to find out.
Brewster: Walker. You’re a very bad man, very destructive man! Why do you run around doing things like this? What do you want?
Walker: I want my money. I want my $93 grand.
Brewster: $93,000? You threaten a financial structure like this for $93,000? I don’t believe you. What do you really want?
Walker: I – I really want my money. I want my money.
Brewster: I’m not going to give you any money and nobody else is. Don’t you understand that?
Walker: Who runs things?
Brewster: Carter and I run things. I run things.
Walker: What about Fairfax? Will he pay me?
Brewster: Fairfax is a man who signs checks.
Walker: No, cash.
Brewster: Fairfax isn’t going to give you anything. He’s finished. Fairfax is dead. He just doesn’t know it yet.
Walker: Somebody’s got to pay.
I actually discussed Bonnie and Clyde a little bit in my article last year about 1967 and how it was the year that Old Hollywood became New Hollywood (I actually discuss all five Best Picture nominees from that year, as well as In Cold Blood), so I was reluctant to revisit 1967 for awhile. But I wrote that article over a year ago now, so I guess it’s time to revisit 1967 after all. I remember when I first saw this film it completely blew me away and upon every revisit I remain in awe of what an utterly amazing feat of filmmaking prowess is on display here. I saw an interview with Arthur Penn, I believe, where he talked about how he decided he wanted to shoot the picture in color because he wanted it to feel modern. They weren’t making a documentary of Depression Era America. This film was going to feel as modern as it possibly could, without being avant-garde. I think Penn accomplished just that, and made it just modern enough to feel timeless, actually. The film was nominated for nine Academy Awards, winning two: Best Costume Design, Best Cinematography (won), Best Supporting Actor Gene Hackman, Best Supporting Actor Michael J. Pollard, Best Supporting Actress Estelle Parsons (won), Best Actor Warren Beatty, Best Actress Faye Dunaway, Best Original Screenplay, Best Director and Best Picture. The other films nominated for Best Picture that year were Doctor Dolittle, The Graduate, Guess Who’s Coming To Dinner and winner In The Heat of the Night.