Norman stansfield
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- Mathilda: You killed my brother.
- Stansfield: I'm sorry. And you want to join him?
- Mathilda: No.
- Stansfield: It's always the same thing. It's when you start to become really afraid of death that you learn to appreciate life. Do you like life, sweetheart?
- Mathilda: Yes.
- Stansfield: That's good, because I take no pleasure in taking life if it's from a person who doesn't care about it.
- Léon: Stansfield?
- Stansfield: At your service.
- Léon: [handing him something] This is from... Mathilda.
- Stansfield: [sees that it's a pin for a grenade] Shit.
- Stansfield: I like these quiet little moments before the storm. It reminds me of Beethoven.
- Stansfield: I haven't got time for this Mickey Mouse bullshit.
- Stansfield: You don't like Beethoven. You don't know what you're missing. Overtures like that get my... juices flowing. So powerful. But after his openings, to be honest, he does tend to get a little fucking boring. That's why I stopped!
- [laughs and sighs]
- Stansfield: Toss the apartment.
- Stansfield:
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Luc Besson | 1hr 50min
What does it take for a man who surrounds him with death to develop a taste for life? For hitman Léon, it is an image of innocence tainted by the world’s depravity, trying to become an adult at age 12 without realising how much of a childhood she is missing out on. Mathilda has never particularly cared for her abusive, drug dealing parents, but when her little brother is tossed aside as collateral damage in a bust by corrupt DEA agents, she becomes fixated on a mission of revenge, particularly directed towards the sinister, deranged Norman Stansfield.
Léon may be the perfect man to help her manifest these goals, but Luc Besson does not condescend to his audience with such straightforward characterisations in Léon: The Professional. The dramatic interactions he delivers are instead equal parts thrilling, heartfelt, and thorny, unfolding a complex relationship between a hitman and orphan that ultimately offers them both steppingstones towards greater self-realisations.
The cinematic high that Besson captures in his opening set piece ma
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Norman Stansfield
For the British diplomat, see George Norman Stansfield.
Fictional character
Norman Stansfield (billed as Stansfield) is a fictional character and the primary antagonist of Luc Besson's 1994 film Léon: The Professional. Portrayed by Gary Oldman, the corrupt and mentally unhinged Drug Enforcement Administration (DEA) agent has been named as one of cinema's greatest villains. In recognition of its influence, MSN Movies described the Stansfield character as "the role that launched a thousand villains".[2]
Character
Main article: Léon: The Professional
Stansfield is a DEA agent who employs a holder (Michael Badalucco) to store cocaine in his residence. When Stansfield learns that the holder has been taking a cut and adulterating the remainder, he and his henchmen gun down the man's entire family, with the exception of 12-year-old Mathilda Lando (Natalie Portman), who is able to find refuge with her neighbor, professional hitman Léon (Jean Reno). As the film progresses, Mathilda implores Léon to teach her his trade so she can kill Stansf
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