
[Exclusive interview with Oliver Blackburn, Total Film, http://www.totalfilm.com/trailers/donkey-punch-exclusive-interview-with-oliver-blackburn, 2011, Future Publishing Limited, 23 February 2012]
As quoted in "Emotional Intelligence" by James Mottram, in The Sunday Herald (8 January 2006)
Context: I think the characters I play go through tunnels, like in Three Colours : Blue, for example, where she’s lost everything... In The English Patient, she loses her best friend; this patient is dying in front of her – there’s no hope, so she’s going to start from the bottom. In films we see extremes, because it’s where you have turning points. Before I thought there was a common denominator between my films — as if all my characters were sisters – but I’m not so sure now.
[Exclusive interview with Oliver Blackburn, Total Film, http://www.totalfilm.com/trailers/donkey-punch-exclusive-interview-with-oliver-blackburn, 2011, Future Publishing Limited, 23 February 2012]
As quoted in Paul Robeson : The Whole World in His Hands (1981) by Susan Robeson, p. 92
On creative aspirations, Drowned in Sound http://drownedinsound.com/in_depth/4562-i-want-to-have-a-past (2002)
“I like a film where you can see every penny of the budget up there on the screen.”
De Abaitua interview (1998)
Jack Arnold in The Horror People http://eric.b.olsen.tripod.com/arnold.html (1976)
“We cannot help but see Socrates as the turning-point, the vortex of world history.”
Source: The Birth of Tragedy (1872), p. 73
Context: We cannot help but see Socrates as the turning-point, the vortex of world history. For if we imagine that the whole incalculable store of energy used in that global tendency had been used not in the service of knowledge but in ways applied to the practical — selfish — goals of individuals and nations, universal wars of destruction and constant migrations of peoples would have enfeebled man's instinctive zest for life to the point where, suicide having become universal, the individual would perhaps feel a vestigial duty as a son to strangle his parents, or as a friend his friend, as the Fiji islanders do: a practical pessimism that could even produce a terrible ethic of genocide through pity, and which is, and always has been, present everywhere in the world where art has not in some form, particularly as religion and science, appeared as a remedy and means of prevention for this breath of pestilence.
[Bloody Disgusting, Interview Donkey Punch: Writer/Directory Olly Blackburn, Mr. Disgusting, http://www.bloody-disgusting.com/interview/441, 23 February 2012, 2011, Bloody-Disgusting LLC]
Source: Academy Series - Priscilla "Hutch" Hutchins, Odyssey (2006), Chapter 3 (p. 19)
(zh-TW) 微乎微乎,至於無形;神乎神乎,至於無聲;故能為敵之司命。
Alternative translation: Subtle and insubstantial, the expert leaves no trace; divinely mysterious, he is inaudible. Thus he is master of his enemy's fate.
Alternative translation: O divine art of subtlety and secrecy! Through you we learn to be invisible, through you inaudible and hence we can hold the enemy's fate in our hands.
The Art of War, Chapter VI · Weaknesses and Strengths