- Bernardo Bertolucci, Himself: It made me remember how bitter my tears were when I was 12 and I saw it for the first time. The same bitter taste in my mouth, the same emotions, watching "Limelight." I saw it again recently. I think, we all suffer from some sort of emotional subjection to the movie. I know, I do.
- Claire Bloom, Herself: It was all an evocation of the melancholy and insular world of London that he remembered - and both loved and hated, of course. Because, you know, he'd been in a workhouse, he and his brother Sydney, as children. I mean, they'd been completely destitute. And when you go to that part of Kennington, now, which is now being gentrified, even when I was young, it was pretty dreadful.
- Sydney Chaplin, Himself: He was very poor in his own youth. He was raised in enormous poverty, you know, my father. And he'd go to London just to look at the old house he lived in, with his mother. It was a sad little place.
- Claire Bloom, Herself: He wanted me to bring a chaperon, because, he'd had quite enough trouble with young girls. So, I came with my mother. When we arrived, very nervous about meeting Chaplin, you can imagine, he was at the airport - to meet us. He was extremely beautiful. Wonderful white hair, very blue eyes. People always think he had dark eyes; but, they weren't. And beautiful, expressive hands. From that moment on I was not frightened of him. And we worked everyday and, then, we went to a costumers. That was were he said to me, "Wear this shawl. My mother wore a shawl like that. My mother wore a skirt like that." And I realized he was focusing - horrible word - he was remembering and incorporating into the character both his mother and Oona, his wife. And, I think, all the lost - young women of his childhood.
- Claire Bloom, Herself: If you remember the scene where they walk along the embankment and she says, "I love you. That's all that matters." I felt so strongly that this was his wish.
- Bernardo Bertolucci, Himself: She is lying. And deep inside, she knows she is. He knows Terry is lying. And we know, he knows. It's all sort of - staged. Calvero is overwhelmed by the affection shown to him at the end of his life. A 20 year old girl telling this man of 60 or more, "Let's get married. I love you." However, the incredible amount of affection she shows him, equals the amount of humiliation that Calvero must feel. He knows only too well, that she would marry him out of mere pity, not love. His smile makes us cry.
- Charlie Chaplin, Himself: My contract with the Keystone Company was for three pictures a week! And for the first year there, I made two pictures in one day. They were two shorts. For those extra pictures, I got 25 dollars.
- Bernardo Bertolucci, Himself: Clearly whose dying here, is not Calvero; but, Charlie Chaplin. That's all I wanted to say.
- Bernardo Bertolucci, Himself: Watching the end of "Limelight" again, I feel like crying. And it doesn't happen too often to me. With "Limelight," tears flow very easily. This is an interview. It would be unusual and quite embarrassing to start crying in front of the camera. But, there is something else. What covers Calvero, is not a shroud, its not a hospital sheet, it's a screen. We have seen theater, theater and more theater. What now covers him is not a theater curtain; but, the movie screen. Chaplin is saying, "There. Chaplin is over. Calvero, an image of myself, has got to die, in order to allow youth, Terry, to flourish." This is the end of the sublime exorcism, that is "Limelight."
- Interviewer: If you could do it all over again, Charlie, would you do anything different from what you have done?
- Charlie Chaplin, Himself: Oh, no. No, I don't want to even go back. I just want to keep going forward, forward, forward.