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Home / Best Quotes / The Outfit (2022) Best Movie Quotes

The Outfit (2022) Best Movie Quotes

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Starring: Mark Rylance, Zoey Deutch, Dylan O’Brien, Johnny Flynn, Simon Russell Beale, Nikki Amuka-Bird, Alan Mehdizadeh

OUR RATING: ★★★★☆

Story:

Crime drama directed and co-written by Graham Moore. The Outfit (2022) centers on Leonard (Mark Rylance), an English tailor who used to craft suits on London’s world-famous Savile Row. But after a personal tragedy, he finds himself in Chicago, operating a small tailor shop in a rough part of town where he makes beautiful clothes for the only people around who can afford them, a family of vicious gangsters. We follow Leonard, who must outwit a dangerous group of mobsters in order to survive a fateful night.

 

Our Favorite Quotes:

'At the finish, you must reconcile yourself to failure. It's not perfect. You have to make your peace with that. How? Well, you sit at your board, you lay out your tools, and you start again.' - Leonard (The Outfit) Click To Tweet

 

Best Quotes


 

Leonard: To the naked eye, a suit appears to consist of two parts, a jacket and trousers. But those two seemingly solid parts are composed of four different fabrics. Cotton, silk, mohair, and wool. And those four fabrics are cut into thirty-eight separate pieces. The process of sizing, forming, conjoining those pieces requires no fewer than two hundred and twenty-eight steps.


 

Leonard: So the first step is measurement. But measurement doesn’t mean just reaching for your tape, “So many inches here, so many inches there.” No, no, no. You cannot make something good until you understand who you’re making it for. All clothing says something. I’ve had gentlemen walk into my shop and boast, “Oh, I don’t care about what I wear.” And assuming that’s true, doesn’t that say something too?


 

Leonard: So, who is your customer? And what are you trying to say about him? A man walks through your door, what about him can you observe? Is he timid, hunched over like a midday clock? Or does he stand with confidence, spine at six and twelve? Is this a man of springtime pastel, clamoring to be noticed? Or is this a man of gray and brown, blending into the hurried crowd? Is this a man comfortable in his station? Or does he pine for grander things? And who would this man like to be? And who is he underneath? Take your measure, and when you understand who he is, then you’re ready to begin.


 

Richie: You’re making those fine threads for somebody else? Who?
Leonard: Master Richie, you know I can’t talk about my gentlemen.
Richie: Huh. Is that what we are? Your gentlemen. Woh, get a load of English. Keeping his lips shut tight.


 

Leonard: [as Mable gives him a snow globe of the Big Ben] I feel at home again.
Mable: Isn’t it beautiful?
Leonard: It’s a clock.
Mable: Unlike some of us, I’ve never seen it in person.
Leonard: In person, it’s still a clock.
Mable: On the banks of the Thames.
Leonard: You’ve seen clocks in Chicago?
Mable: Yes, of course, but…
Leonard: They look startlingly similar in London.


 

Mable: You’ve been all over the world. You could have a shop anywhere you like. And yet, you’re here.
Leonard: What’s wrong with here?
Mable: I can think of a few things.


 

Leonard: Some things one finds everywhere, dear. So it doesn’t terribly much matter where I am. I have my shears.
Mable: What else does a man need besides his shears?
Leonard: And I have you.
Mable: Not forever.
Leonard: Ah, yes. Ben awaits.
Mable: One way or another, I’m getting out of here.


 

Leonard: Speak of the devils.
Richie: What’s that now?
Leonard: Just an expression, sirs. Excuse me. I meant no offense.


 

Leonard: Those men may be customers, but they are not gentlemen.
Mable: Could’ve fooled me in those nice clothes you make for them.
Leonard: If we only allowed angels to be customers, soon we’d have no customers at all.


 

Mable: I’ve spent my entire life around animals like Richie Boyle. You want to get him to back off, you look him dead in the eyes, and you pretend you’re one of them.
Leonard: You don’t need me worrying after you.
Mable: That’s right.
Leonard: You can take care of yourself. You’re not my, you know.


 

Mable: I don’t want your life.
Leonard: You’re entitled to your own.
Mable: I am.
Leonard: You’re a smart young woman who’s going to take herself far away from here.
Mable: I will. And when I go, I just don’t want you to be all alone.
Leonard: I don’t need you looking after me either. After all, you’re not my, you know.
Mable: Fair enough.


 

Leonard: Step two is drawing. And for some, this can be the most purely enjoyable step. You’re only just exploring. But I will caution you to heed your patterns. They’re there for a reason. This isn’t art. This is a craft. We can talk about shocking originality later. The point now is skill. Your patterns, your proven forms, they aren’t your enemies. They’re the only friends you have.


 

Francis: It hurts because there’s a hole in your stomach. Do you remember why there’s a hole in your stomach? There’s a hole in your stomach because back there, when it was time for you to pull the trigger, you froze.
Richie: F*** you!
Francis: Yeah, f*** me later. Right now, shut up.

 

'It's at the finishings that you must come to terms with the idea that perfection is a necessary goal, precisely because it is unattainable. If you don't aim for perfection, you cannot make anything great.' - Leonard (The Outfit) Click To Tweet

 

Francis: [referring to the suitcase] English, I need you to listen carefully. There are a thousand blue boys out there hunting for this, and if they find it, I start shooting. You follow? Making matters worse, there are a thousand racket boys out there hunting for it too. And if they find it, they start shooting. You follow?
Richie: I think he f***ing gets it.


 

Leonard: [referring to Richie’s bullet wound] The wound needs to be sealed.
Francis: Oh, are you a doctor now too?
Leonard: I was in the war.
Francis: At your age?
Leonard: The other war.


 

Francis: [referring to Richie] Sew him up.
Leonard: What?
Francis: You got a needle and thread around here someplace.
Leonard: Not that kind.
Francis: Sew him up.
Leonard: I can’t. I don’t know how. Sewing skin is not the same.
Francis: [points his gun at Leonard] Sew him up.


 

Leonard: You’ve been loyal customers. I depend upon you. Not once, not once have I ever asked about your business. I don’t judge. I just don’t want to be involved in whatever it is you do.
Francis: English, you know exactly what it is that we do.


 

Leonard: I’m useless to you. I’m a liability. I only just want to be left alone.
Francis: But you’re not alone, English. Like it or not, now you’re part of the family.


 

Richie: [referring to his father, Roy] You know that he taught me how to tie a tie for the first time when I was four.
Leonard: No. Four?
Richie: What was he always saying? “A well-tied tie is the first serious step in life, kid.” Some s**t like that.
Leonard: Wilde.
Richie: F***ing crazy, right?
Leonard: No, that’s a quote. Oscar Wilde.


 

Leonard: So, who do you think it is?
Richie: Who do I think is who?
Leonard: This Judas who’s betrayed your family.
Richie: I don’t know.
Leonard: I’ll wager a clever young man like yourself must have some suspicions. Someone close to the family, perhaps, but not family.


 

Leonard: I’m the rat. I’ve been selling information to your enemies. And I let the Federal Bureau of Investigation plant their bug here.
Richie: [pauses, then laughs] Holy s**t, you had me. You f***ing had me. I almost f***ing shot you.
Leonard: I felt it. I made you laugh.
Richie: It’s a hell of a thing to joke about.
Leonard: Well, it’s the best medicine, you know. It is.
Richie: Can you imagine, huh? You, the rat?


 

Richie: You couldn’t be the rat.
Leonard: I absolutely could be the rat.
Richie: Not a chance.
Leonard: Why not?
Richie: Why? Because look at you.
Leonard: What about me?
Richie: No, uh-uh. You’re just a f***ing tailor.
Leonard: I’m not a tailor. I’m a cutter.

 

'This isn't art. This is a craft. We can talk about shocking originality later. The point now is skill. Your patterns, your proven forms, they aren't your enemies. They're the only friends you have.' - Leonard (The Outfit) Click To Tweet

 

Leonard: A tailor sews on buttons and hems trousers. Anyone with a needle, and thread, and fifteen minutes can be a tailor. I studied for decades to be a cutter. I used to cut on the Row.
Richie: F*** is “the Row”?
Leonard: Savile Row.
Richie: Where’s that, North Addison?
Leonard: It’s in London.


 

Richie: Why did you come here, then?
Leonard: The war.
Richie: What, Krauts bomb your place?
Leonard: Worse. They’re called blue jeans.


 

Richie: Well, times change, pal. Blue jeans are the fashion now.
Leonard: This James Dean of yours makes one picture, and blue jeans are the fashion. Soon he’ll make another, something else will become popular. These fashionable things, they don’t last. The things I make, like that suit of yours, it’s timeless.


 

Richie: So you thought that a bunch of fancy-pants in England couldn’t appreciate the finer things, so you came to Chicago? Wow. You must f***ing love Red Hots.
Leonard: I came to a place that isn’t weighed down with bitter history. And, yes, Red Hots are delicious.


 

Leonard: [to Richie] If I was the rat, and try as I might, I can’t seem to convince you that I am, well, I’d want to burn that thing straightaway. So, you see, you’ve nothing to fear from your friend Francis. He’s family. Well, almost.


 

Francis: How you feeling?
Richie: Oh, I’m just peachy. Yeah. How you feeling?
Francis: I didn’t get shot in the stomach earlier. So, you know, not bad.


 

Richie: Lucky, isn’t it? All those bullets flying around, but the La Fontaines, they didn’t land a single one on you, hmm?
Francis: Not luck, Richie. It’s skill.

 

'When a mistake has been made, I've always found it best to simply be up-front about it.' - Leonard (The Outfit) Click To Tweet

 

Richie: Where’s the tape, Francis?
Francis: You must be out of your mind to point that gun at me.
Leonard: Gentlemen.
Francis: Stop playing games, Richie. Where did you put the tape?
Richie: What was your plan?
Francis: Did you hide it to try and trick me into confessing something? Because that is somehow the dumbest thing you’ve done all day.


 

Richie: From the second I first laid eyes on you, I said, “Who the f*** is this son of a b**ch?” He ain’t family.
Francis: No, I’m the guy who took six marbles to save your father’s life because family wasn’t there.

See more The Outfit Quotes


 

Francis: [after shoots kills Richie in the throat] These are the last words you’re going to hear, so I hope you remember them in hell. You didn’t die because you’re dumb, because you’re arrogant, or because you’re slow. It was because you’re weak.
[he then shoots Richie in the face]


 

Leonard: [referring to Richie] You killed him.
Francis: You really pay attention, don’t you?


 

Leonard: Maybe you could explain what happened.
Francis: To God Almighty?
Leonard: No, to Mr. Boyle.
Francis: There’s a difference?


 

Leonard: When a mistake has been made, I’ve always found it best to simply be up-front about it.
Francis: English, I didn’t cut the boss’s pants too short. I shot his son in the face.


 

Leonard: I don’t know anything about lying. Subterfuge.
Francis: You don’t know how to say one thing when you mean something else? I thought you were English.


 

Monk: Everything good, boss?
Roy: Not a single thing is good. My boy is missing, the tape is missing, and there are more blue boys on those streets than at the St. Paddy’s Day Parade.


 

Roy: It’s going to be a long night.
Leonard: They usually are, sir.


 

Leonard: Some years ago, a customer comes into my shop with a suit, not one of mine. The customer says, “The jacket, it’s too big.” It is. “The problem,” I say, “is the shoulders.” But the customer says, no, he likes the shoulders. The problem is the sleeves. We go back and forth. Finally, the customer says, “It’s my money, and I’m telling you, cut the sleeves.” So what do I do? I say, “Yes, sir,” and then I cut the shoulders. The customer, he comes back, tries on his suit. “It’s perfect,” he says. “That’s exactly what I asked for.”


 

Roy: [to Leonard] I read something once about how the thing that separates man from monkeys is tools. Do you believe all that? Evolution? I don’t know. But I do know that a man has a choice in this world about how he uses his tools. He can destroy, or he can build. And you think I destroy.


 

Roy: Have you ever heard of the Outfit?
Leonard: Well, I make clothes, so.
Roy: Oh, not that kind of outfit. It’s an organization.
Leonard: What, like the Rotary Club?
Roy: Maybe you’ve heard of Al Capone?
Leonard: Him I’ve heard of.
Roy: Yeah. He started it.
Leonard: The Rotary Club?
Roy: The Outfit.


 

Roy: [referring to Capone] After he died, his organization spread out, became more of a network. Every big-time crew from Santa Monica to Coney Island, Italians in the East, Jews in the West, Poles in St. Louis, even a few sons of Killarney here and there. The underworld United Nations. Anybody messes with anybody, the Outfit has your back. It’s like a stamp. “You have arrived.”
Leonard: And have you arrived?
Roy: Almost.


 

Roy: You’re hiding something, my friend. And I’m trying to help you understand that even if I never find out what it is, the Outfit will. So you want to get clear of this, you need to tell me what really happened in here tonight. Now.
Leonard: Mr. Boyle, I’m telling you the truth.


 

Leonard: Mr. Boyle. I’ve known Mable for years. I’m willing to bet my life she has nothing to do with this.
Francis: Oh, I’ll take that bet.
Roy: Let’s get the lady talking.


 

Leonard: I understand how you feel.
Roy: You understand how I feel?
Leonard: I had a daughter. I didn’t come to Chicago because of blue jeans. There was a fire in my shop. I didn’t even notice it at first, I was so busy working. The fabrics lit up. Everything burned so fast. My wife and my little girl, they lived upstairs. I heard them. The shears, they was a gift from my wife. So, you understand.


 

Leonard: Mr. Boyle, you can hurt young Mable. You can hurt me. You can kill any one of us with a snap of your fingers. But it won’t find your child, no matter how much you want it.


 

Francis: If the devil himself came crashing through the roof, I wouldn’t be shocked right now.


 

Francis: [to Leonard, as he points his gun at Mable] Either I kill her now, and we pin tonight on her corpse, or I kill both of you, and do it all myself. It’s your choice.


 

Francis: [refering to Roy] And how exactly are the La Fontaines going to know where to ambush him?
Leonard: Because Mable’s about to tell them.
Mable: Me?
Leonard: Yes, you.
Mable: Why me?
Leonard: Because you’re the rat.


 

Leonard: [to Mable] You told La Fontaine, and hoped that they would all kill each other, before they found you.
Mable: You got your hustle. I got mine.
Francis: You were, you were the f***ing rat?
Mable: I’ve spent my entire life watching you leeches suck this neighborhood dry. I am going to love sitting in a café in Paris, reading all about your funeral.


 

Francis: You stole the tape?
Leonard: No. That was me.
Mable: You knew what I was doing, and instead of stopping me, you helped.
Leonard: Yes.
Mable: F*** you. I can take care of myself.


 

Francis: [referring to Roy] He made me everything that I am today.
Leonard: And today is the day that you don’t need him anymore.
Francis: You think I’m just going to betray Roy Boyle that easy?
Leonard: No, I don’t think it’s easy. I think option A is, we all die. And option B is, you run the Boyle organization.


 

Francis: I didn’t know you spoke French.
Mable: Francis, the number of things about me that you don’t know.


 

Francis: [to La Fontaine] Let’s make a deal. You give me the green, I’ll walk away. We all live to kill each other some other time.


 

La Fontaine: [to Francis] Mon Dieu, this f***ing city. Since day one, people like me, people like our English friend, we come here, and we make something of ourselves. And then right as soon as we get big enough, you connards show up with your hair slicked back, shoes all shiny, and you snatch it away. Like a spoiled child who’d rather break his own toys than watch somebody else play with them.


 

Leonard: [referring to Francis] Madame, you have nothing to fear from this man.
La Fontaine: Why is that?
Leonard: Because earlier this evening, I removed all the bullets from his gun.
[La Fontaine’s bodyguards then shoot Francis]


 

La Fontaine: Any other killers in here I should know about?
Leonard: Only you.


 

La Fontaine: A tailor. Always listening, never talking. But nobody stop to think, “What’s going on in his head?”
Leonard: I’m not a tailor, ma’am. I’m a cutter.
La Fontaine: Un coupeur.


 

Mable: [to Leonard] The tape. It’s just a fake. The Outfit has never even heard of Roy Boyle. They didn’t send those messages. You did. You’ve been planning this for months. Everything that happened. You set it all up.


 

Leonard: [to Mable, referring to the real tape] This contains everything that went on here this evening. Enough to convict any remaining Boyles of a dozen crimes, and Madame La Fontaine of the murder of Roy Boyle. You won’t mind, will you, popping it in the post to your friend at the FBI? On your way to… Perhaps it’s safest if I don’t know. But make it somewhere grand.


 

Mable: So what about you?
Leonard: Oh, I’ve started over before. It’ll be easier the second time.
Mable: Come with me.
Leonard: No.
Mable: No, come with me. You can show me things you’ve already seen.
Leonard: You will not spend your best years taking care of my remaining few.


 

Mable: I was taking care of myself just fine, you know.
Leonard: Oh, yes. Knowing you, I’m quite confident you’d have seen to the burials of each and every one of those murderers. But then, you’d no longer be pretending to be one, would you?


 

Mable: [referring to his daughter] I wish I could have met her. Your real, you know.
Leonard: She would have liked you.
[Mable kisses his cheek, takes the money left by La Fontaine, and leaves]


 

Leonard: Finishings, for me, can be the hardest part. Not because there’s any great skill involved in these final steps, putting on a few buttons, closing up a few edges, but because if you’ve done your job, all the true craftsmanship has already occurred. The finishings are mere inevitabilities. It’s at the finishings that you must come to terms with the idea that perfection is a necessary goal, precisely because it is unattainable. If you don’t aim for perfection, you cannot make anything great. And yet, true perfection is impossible.


 

Leonard: [after an alive Francis tries to kill him, he reveals his arm tattoos] I was like you once. I was. Made my living with a gun. A knife. Sometimes, just my bare hands. I’d a gift, they said. But it wasn’t magic. It was work. One day, they asked me to do something I couldn’t do. So I ran. I hid. I hid on the Row. Picked up a trade, learnt a craft, and met my wife. Vera. I fell in love. We had little Lily. I fell in love again. But they found me. They found me. Set fire to my shop. My home. My life. I came here to get away from all that violence. Get away from myself. My first day here, who did I meet? I suppose I put on these clothes to convince myself I’m civilized. I want so bad to be good.
[as Francis lunges for him, Leonard stabs him in the neck with his shears]


 

Leonard: So at the finish, you must reconcile yourself to failure. It’s not perfect. You have to make your peace with that. How? Well, you sit at your board, you lay out your tools, and you start again.
[he then leaves his burning shop]

 


 

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