Roger Ames [reading Factory Records contract, written in Tony Wilson's blood]: The artists own all their work. The label owns nothing. Our bands have the freedom ... to fuck off.

Tony Wilson: Martin, what are you doing?
Martin Hannett: Recording silence
Tony Wilson: You're recording silence?
Martin Hannett: No, i'm recording Tony fucking Wilson!

Ryan Letts: There's not calling you the new George Epstein you know.
Tony Wilson: Brian Epstein.
Ryan Letts: George Epstein, Beatles' manager.
Tony Wilson: That's Brian Epstein, dickhead.
Ryan Letts: George Epstein.
Tony Wilson: It's fucking Brian Epstein.
Ryan Letts: Brian Martin.
Tony Wilson: It's not Brian, it's George Martin.
Ryan Letts: Brian Martin, the producer ...
Tony Wilson: You're just fucking wrong!

[First address to camera; after his hang-gliding news report] You're going to see a lot more of that sort of thing in the picture. I don't want to say too much, don't want to spoil it. I'll just say one word: 'Icarus'. If you get it, great. If you don't, that's fine too. But you should probably read more.

I'm being postmodern, before it was fashionable.

[At a gig at the Hacienda] And tonight something equally epoch-making is taking place. See? They're applauding the DJ. Not the music, not the musician, not the creator, but the medium. This is it. The birth of rave culture. The beatification of the beat. The dance age. This is the moment when even the white man starts dancing. Welcome to Manchester.

I'm a minor character in my own story.

This scene didn't actually make it to the final cut. I'm sure it'll be on the DVD.

[About the music scene surrounding the Hacienda] It was like being on a fantastic fairground ride, centrifugal forces throwing us wider and wider. But it's all right, because there's this brilliant machine at the center that's going to bring us back down to earth. That was Manchester. That is the Hacienda. Now imagine the machine breaks. For a while, it's even better, because you're really flying. but then, you fall, because nobody beats gravity.

Most of all, I love Manchester. The crumbling warehouses, the railway arches, the cheap abundant drugs. That's what did it in the end. Not the money, not the music, not even the guns. That is my heroic flaw: my excess of civic pride.

Factory Records are not actually a company. We are an experiment in human nature. You're labouring under the misapprehension that we actually have a deal with, er, with our, our bands. That we have any kind of a contract, er, at all, and I'm afraid we, er, we don't because that's, er, that's the sum total of the paperwork to do with Factory Records, deal with, er, their various bands.

I have protected myself from ever having to sell out by having nothing to sell out.

[To Martin Hannett] You can't threaten me, Martin. You're a big man, but you're out of shape. Although you could sit on me.

Energy, energy? Energy is, is, it's nothing more than a lot of new age hokum masquerading as spirituality.

[About the Happy Mondays] Every band needs it's own special chemistry. And Bez was a very good chemist.