“A public domain work is an orphan. No one is responsible for its life. But everyone exploits its use, until that time certain when it becomes soiled and haggard, barren of its previous virtues. How does the consumer benefit from the steady decline of a film's quality?”

"I Remember, I Believe," The Pursuit of Justice (1964)

Source: 1930s- 1950s, The Practice of Management (1954), p. 392

1980s, GNU Manifesto (1985)
Context: GNU is not in the public domain. Everyone will be permitted to modify and redistribute GNU, but no distributor will be allowed to restrict its further redistribution. That is to say, proprietary modifications will not be allowed. I want to make sure that all versions of GNU remain free.

Source: Dying Earth (1950-1984), The Eyes of the Overworld (1966), Chapter 4, "The Sorcerer Pharesm"

Herzog on Herzog (2002)
Context: Your film is like your children. You might want a child with certain qualities, but you are never going to get the exact specification right. The film has a privilege to live its own life and develop its own character. To suppress this is dangerous. It is an approach that works the other way too: sometimes the footage has amazing qualities that you did not expect.

Michel Henry, Marx II. une philosophie de l’économie, éd. Gallimard, coll. « Nrf », 1976, p. 435
Books on Economy and Politics, Marx. A Philosophy of Human Being (1976)
Original: (fr) Comment le capital trouve sa substance et son essence dans le travail vivant, de telle manière qu’il provient exclusivement de lui, ne peut se passer de lui, ne vit que pour autant qu’il puise à chaque instant sa vie dans celle du travailleur, vie qui devient ainsi la sienne, c’est ce qu’exprime à travers toute l’œuvre de Marx le thème du vampire. « Le capital est du travail mort qui, semblable au vampire, ne s’anime qu’en suçant le travail vivant et sa vie est d’autant plus allègre qu’il en pompe davantage ».

[Five Tracts of Hasan Al-Banna: A Selection from the Majmu at Rasail al-Imam al-Shahid Hasan al-Banna, University of California Press, 106] translated and annotated by Charles Wendell.

For My Legionaries: The Iron Guard (1936), Nation and Culture