The French Dispatch: 10 Best Quotes In The Movie

Like other films by Wes Anderson, The French Dispatch is littered with crackling, memorable dialogue. Almost every character in the film is given at least one quotable line, with punchier characters like Bill Murray’s Arthur Howitzer Jr. getting several.

The dialogue moves at a rapid-fire pace, guiding most of the narrative via cheeky explanations and thorough exposition. With almost every character being an eloquent master of the written word, The French Dispatch is a film that serves as a love letter to the beauty found both in the creation of art and flowing vernacular.

Arthur Howitzer Jr.

“Don’t Cry In My Office!”

This quote from Bill Murray’s Arthur Howitzer Jr., editor of The French Dispatch, works well because of a visual gag to occurs immediately after. The individual to whom he’s speaking, the young Morisot, looks up to see a sign that directly mirrors Howitzer Jr.’s words: No Crying.

Howitzer Jr. is effectively the heart of the film, and Murray makes him one of The French Dispatch‘s most likable characters. He technically passes before the start of the narrative, but he’s the thread connecting the three stories (he’s acquainted with McDormand’s character, Tilda Swinton’s character, and Jeffrey Wright’s character).

Herbsaint Sazerac

“All Grand Beauties Withhold Their Deepest Secrets.”

Owen Wilson’s Herbsaint Sazerac is not in very much of The French Dispatch, almost entirely relegated to his brief segment “The Cycling Reporter.”

It’s a very dialogue-heavy scene that has the camera matching Sazerac’s pace, with him looking into the camera while riding a bike (intermittently looking forward). “All grand beauties withhold their deepest secrets” is the beginning of his explanation about the town of Ennui. Unfortunately, this explanation is abruptly ended when Sazerac is thrown from the bicycle (for the second time).

Arthur Howitzer Jr.

“Just Try To Make It Sound Like You Wrote It That Way On Purpose.”

A line delivered with tenderness by Bill Murray (who makes the most out of very limited screentime as Arthur Howitzer Jr.), “Just make it sound like you wrote it that way on purpose” is fully indicative of a man who loves writers.

That in and of itself is the point and appeal of Howitzer Junior. The creator of The French Dispatch, he’s a staunch supporter of writer autonomy and believes in supporting them to the point they can flourish. It wouldn’t be unpopular to say that Howitzer Jr. is one of its best characters.

Lucinda Krementz

“Let’s Start With The Typos.”

While Timothée Chalamet’s student revolutionary Zeffirelli is in the bathtub, famed journalist Lucinda Krementz (Frances McDormand) enters to speak with him. With him, he has a manifesto containing the group of tasks the revolutionaries wish to accomplish. He asks her (somewhat arrogantly) to proofread it, saying “My parents think you’re a good writer.”

After this, Zefirelli swiftly exits the bathtub and hands her the manifesto. She says, “It’s a little damp.” He replies, asking, “Physically, or metaphorically?” After replying that the issue is both, Zeffirelli strongly suggests she not criticize it (in spite of having given it to her for them). She questions what he wants her to do, to which he replies that he basically wanted her to just tell him that it was good. Krementz looks to him and says, “Let’s start with the typos.” Apparently, it was far below the quality level he assumed.

Moses Rosenthal

“It’s Not For Sale.”

Perhaps one of Benicio Del Toro’s best roles, Moses Rosenthal is both a brilliant painter and a murderer of at least two people. When he’s visited by Adrien Brody’s Julien Cadazio, the two men engage in a strange form of haggling.

Cadazio wants Rosenthal’s “Simone naked” painting. Rosenthal says “It’s not for sale.” Cadazio’s reply is simple: “Yes, it is.” This exchange is repeated over and over until Cadazio notices Rosenthal consistently looking to the guard who stands beyond the cell door. When Cadazio asks why, Rosenthal growls, “That’s Simone.” Rosenthal’s refusal to sell the painting until he essentially has Simone’s approval is telling.

Lucinda Krementz

“Are You Sure?”

During “Revisions to a Manifesto,” Ms. Krementz comes face to face with Juliette, the student revolutionary with an intimidating presence that rivals if not exceeds Zeffirelli’s.

Krementz insults Juliette by referring to her as immature and then swiftly retracts her statement. Juliette insults Krementz in return, referring to her as an “old maid” (partially because she’s jealous of Krementz’s liaison with Zeffirelli). Juliette refuses to accept Krementz’s apology and reasserts that she is an adult. Krementz asks “Are you sure?” but it’s not clear what exactly she’s referring to. Juliette feels the same way and asks for clarification. Krementz then explains that being an adult requires maturity, and the ability to accept an apology is crucial.

The Narrator

“These Were His People.”

The French Dispatch technically has several narrators, but the main one, who opens the film, has several terrific quotes. “These were his people” is a line used in several contexts throughout the film, but it’s the application of it by Anjelica Huston’s narrator to describe Howitzer Jr. that stands as the best usage.

Within a batch of exposition describing the rise of The French Dispatch as well as the death of Howitzer Jr., Huston’s narrator says, “He assembled a team of the best patriot journalists of his time. Berensen, Salzerac, Krements, Roebuck Wright. These were his people.” It’s a brief quote that manages to capture the writers’ safe haven crafted by Murray’s Howitzer Jr.

J.K.L. Berensen

“Wrong Slide. That’s Me.”

Tilda Swinton’s J.K.L. Berensen is one of Wes Anderson’s best-dressed characters, but not for the entirety of her appearance. She’s essentially the narrator for the Moses Rosenthaler-Simone segment, explaining the painter and his muse to an auditorium full of people.

While explaining “Simone naked,” Berensen attempts to show off the image to the audience. Instead, the next slide is a photograph of someone standing fully nude, none other than Berensen herself. With a toothy grin and only a little embarrassment, she laughs it off with “Wrong slide. That’s me.” The French Dispatch may not be considered one of Tilda Swinton’s best movies, but it’s one of her most fun performances.

Herbsaint Sazerac

“I Hate Flowers.”

Howitzer Jr. is asking for clarification on the direction of Sazerac’s newest piece. It’s an expose on the history of Ennui but has no beauty. It references prostitution, stabbings, and everything in between.

Howitzer Jr. asks where Ennui’s lovely qualities are. He suggests adding something to make it more readable by the masses. Something like a flower shop. In reply, Sazerac says “I hate flowers.” It’s succinct and sums up where Sazerac’s priorities lie: truthfulness over marketability.

Simone

“No.”

Simone’s delivery of the line “No.” is memorable for how quickly and surely she says it. She and Moses Rosenthaler lay in bed after another painting session. He clearly has something on his mind and tries to express it, but she cuts him off with “No.”

“No.” is repeated each time he tries because she knows what he wants to say. Unfortunately, she says she does not love him and will never love him. She doesn’t even want to hear him say it, which serves to betray her true feelings (as seen by the tearful look in her eye as she exits his life).

About The Author

Ben Hathaway
(300 Articles Published)

Ben Hathaway is a Senior Writer (Lists) for Screen Rant. A former Therapeutic Day Treatment counselor, Ben is now a career writer. When not working, he is writing and self-publishing (on Amazon) novels under the name Scott Gray. In his spare time, he’s reading on the porch or watching every film under the sun. Ben can be contacted at [email protected].

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