“Generalities would have been soon forgotten. But the story that had its roots in everyday human existence and need, lives and will live forever. It condensed the philosophy of Christianity into half a dozen unforgettable paragraphs. The parable of the Good Samaritan is the greatest advertisement of all times.”

Luca di Montezemolo, Ferrari president, cited in: Planet-F1 (2006) "Todt and Montezemolo hail 'legend' Schumi". on Planet-F1. September 12, 2006 (no longer online)

Source: The Life of Poetry (1949), p. 150
Context: The continuity of film, in which the writer deals with a track of images moving at a given rate of speed, and a separate sound-track which is joined arbitrarily to the image-track, is closer to the continuity of poetry than anything else in art. But the heaviness of the collective work on a commercial film, the repressive codes and sanctions, unspoken and spoken, the company-town feeling raised to its highest, richest, most obsessive-compulsive level in Hollywood, puts the process at the end of any creative spectrum farthest from the making of a poem.
At the same time, almost anything that can be said to make the difficulties of poetry dissolve for the reader, or even to make the reader want to deal with those "difficulties," can be said in terms of film. These images are like the action sequences of a well-made movie — a good thriller will use the excitement of timing, of action let in from several approaches, of crisis prepared for emotionally and intellectually, so that you can look back and recognize the way of its arrival; or, better, feel it coming until the moment of proof arrives, meeting your memory and your recognition.
The cutting of films is a parable in the motion of any art that lives in time, as well as a parable in the ethics of communication.

TV Interview for London Weekend Television Weekend World (6 January 1980) http://www.margaretthatcher.org/speeches/displaydocument.asp?docid=104210
First term as Prime Minister

Variant: Most good things have already been said far too many times and just need to be lived.

"R. S. Thomas in conversation with Molly Price-Owen" in The David Jones Journal R. S. Thomas Special Issue (Summer/Autumn 2001)
Context: True Christianity at its most profound is as good as you get. … I think I've been lucky in the period which I've lived through because obviously I would have been for the chop in earlier days. The Inquisition would have rooted me out; even in the 19th century I would probably have been had up by a Bishop and asked to change my views, or to keep them to myself etc.... I think that so much of our Christian beliefs … are an attempt to convey through language something which is unsayable.

Review of Magnolia (1999), in review for Great Movies (27 November 2008) http://www.rogerebert.com/reviews/great-movie-magnolia-1999
Reviews, Four star reviews
Context: Magnolia is a film of sadness and loss, of lifelong bitterness, of children harmed and adults destroying themselves. As the narrator tells us near the end, "We may be through with the past, but the past is never through with us." In this wreckage of lifetimes, there are two figures, a policeman and a nurse, who do what they can to offer help, hope and love. … The central theme is cruelty to children, and its lasting effect. This is closely linked to a loathing or fear of behaving as we are told, or think, that we should. … As an act of filmmaking, it draws us in and doesn't let go. It begins deceptively, with a little documentary about amazing coincidences (including the scuba diver scooped by a fire-fighting plane and dumped on a forest fire) … coincidences and strange events do happen, and they are as real as everything else. If you could stand back far enough, in fact, everything would be revealed as a coincidence. What we call "coincidences" are limited to the ones we happen to notice. … In one beautiful sequence, Anderson cuts between most of the major characters all simultaneously singing https://www.youtube.com/watch?v=aNmKghTvj0E Aimee Mann's "It's Not Going to Stop." A directorial flourish? You know what? I think it's a coincidence. Unlike many other "hypertext movies" with interlinking plots, Magnolia seems to be using the device in a deeper, more philosophical way. Anderson sees these people joined at a level below any possible knowledge, down where fate and destiny lie. They have been joined by their actions and their choices.
And all leads to the remarkable, famous, sequence near the film's end when it rains frogs. Yes. Countless frogs, still alive, all over Los Angeles, falling from the sky. That this device has sometimes been joked about puzzles me. I find it a way to elevate the whole story into a larger realm of inexplicable but real behavior. We need something beyond the human to add another dimension. Frogs have rained from the sky eight times this century, but never mind the facts. Attend instead to Exodus 8:2, which is cited on a placard in the film: "And if thou refuse to let them go, behold, I will smite your whole territory with frogs." Let who go? In this case, I believe, it refers not to people, but to fears, shames, sins.
Magnolia is one of those rare films that works in two entirely different ways. In one sense, it tells absorbing stories, filled with detail, told with precision and not a little humor. On another sense, it is a parable. The message of the parable, as with all good parables, is expressed not in words but in emotions. After we have felt the pain of these people, and felt the love of the policeman and the nurse, we have been taught something intangible, but necessary to know.

Remarks to the Parliamentary Assembly of the Council of Europe (2005)
Source: As quoted in "Remarks of the President of Georgia H.E. Mikheil Saakashvili to the Parliamentary Assembly of the Council of Europe" https://reliefweb.int/report/georgia/remarks-president-georgia-he-mikheil-saakashvili-parliamentary-assembly-council (26 January 2005), ReliefWeb