“And for the greatest movie artists where there is a unity of technique and subject, one doesn’t need to talk about technique much because it has been subsumed in the art. One doesn’t want to talk about how Tolstoi got his effects but about the work itself. One doesn’t want to talk about how Jean Renoir does it; one wants to talk about what he has done. One can try to separate it all out, of course, distinguish form and content for purposes of analysis. But that is a secondary, analytic function, a scholarly function, and hardly needs to be done explicitly in criticism. Taking it apart is far less important than trying to see it whole. The critic shouldn’t need to tear a work apart to demonstrate that he knows how it was put together. The important thing is to convey what is new and beautiful in the work, not how it was made — which is more or less implicit.”

Source: Time and Again (1951), Chapter XXIV (p. 124)

Interview with Bill Neely https://www.youtube.com/watch?v=45odEv_1DAY (July 2016) on " NBC: Exclusive Interview with Bashar al-Assad https://www.nbcnews.com/news/world/syria-s-president-bashar-al-assad-speaks-nbc-news-n608746"

2012 Democratic National Convention

New York Herald Tribune (16 January 1958).

Source: Zen and the Art of Motorcycle Maintenance: An Inquiry Into Values

“The Wishing Well”, p. 74
The Ivory and the Horn (1996)

15° Off Cool (2007)

Quoted in Bill Adler, "The Presidency," The Wit of President Kennedy (1964).

[JFK was speaking]...To a group of women delegates to the United Nations who had suggested that there might one day be a woman President.
Attributed