Quotes about audience

page 8

Stiff Upper Lip, Jeeves (1963)

Arts and Architecture, vol. 68, no 9, September 1951, p. 21.
1950s

§ 5.47
Bodhicaryavatara, A Guide to the Bodhisattva Way of Life

Source: Bill & Dave, 2007, p. 393

Review http://www.rogerebert.com/reviews/death-to-smoochy-2002 of Death to Smoochy (29 March 2002)
Reviews, Half-star reviews

1850s, The Present Aspect of the Slavery Question (1859)

"Circus," review of Moscow on the Hudson (1984-04-16), p. 160.
State of the Art (1985)

Allegedly (2004)

Books, Absolute Magic - A Model for Powerful Close-Up Performance (2003) second edition

Sane Man (1989)

as interviewed by Richard Porton, "Collective Guilt and Individual Responsibility: An Interview with Michael Haneke," Cineaste, Vol. 31, No. 1 (Winter 2005), pp. 50-51

Statement at the Masiela Lusha board page http://www.masielalusha.com/board.php

Powell's Books http://www.powells.com/authors/hawke.html (2002-08-06)
2000–2004

Poppin (1969)
Context: We can only take it so far, because man can only take it so far, lower self can only take it so far, and you have to realize that the public is only at a certain place. We won't see the day when the public accepts what we wanna project, even though they are accepting a lot now. By the time they're accepting it, maybe they'll be too old.... If it's total freedom, I guess the ultimate thing you can go into is total silence between the audience and performer, with the performer projecting something he doesn't even have to play. A total silence trip is the ultimate.... We do antagonize them psychologically. People look at us and react. They either go "Wow! Hey-hey-hey, baby!" and we say that's great. They're reacting and that's wonderful. It's better than them sitting there doing nothing. I say make them react — do whatever's in your power to move the audience, and if that's where it is, and there where it is with America, sex and violence, then I say project it.

Part Troll (2004)

Part Troll (2004)

Complete Prose Works (1892), III. Notes Left Over 3. Ventures, on an Old Theme, p.324 http://books.google.com/books?id=UJA1AAAAMAAJ&pg=PA324
Context: If the United States haven't grown poets, on any scale of grandeur, it is certain that they import, print, and read more poetry than any equal number of people elsewhere — probably more than the rest of the world combined.
Poetry (like a grand personality) is a growth of many generations — many rare combinations.
To have great poets, there must be great audiences too.

Part Troll (2004)

In Pursuit of Valis: Selections from the Exegesis (1991)
Context: I am a fictionalizing philosopher, not a novelist; my novel and story-writing ability is employed as a means to formulate my perception. The core of my writing is not art but truth. Thus what I tell is the truth, yet I can do nothing to alleviate it, either by deed or explanation. Yet this seems somehow to help a certain kind of sensitive troubled person, for whom I speak. I think I understand the common ingredient in those whom my writing helps: they cannot or will not blunt their own intimations about the irrational, mysterious nature of reality, and, for them, my corpus of writing is one long ratiocination regarding this inexplicable reality, an investigation and presentation, analysis and response and personal history. My audience will always be limited to those people.

Part Troll (2004)

Awake in the Dark: The Best of Roger Ebert (2006)
Context: Herzog by his example gave me a model for the film artist: fearless, driven by his subjects, indifferent to commercial considerations, trusting his audience to follow him anywhere. In the 38 years since I saw my first Herzog film, after an outpouring of some 50 features and documentaries, he has never created a single film that is compromised, shameful, made for pragmatic reasons or uninteresting. Even his failures are spectacular.

AARP Magazine (July-August 2008)
Context: I believe the universe created us — we are an audience for miracles. In that sense, I guess, I'm religious.

Source: Prometheus Bound, lines 637–639 (tr. Elizabeth Barrett Browning)

17m07s https://www.youtube.com/watch?v=eazIth4orfM#t=17m07s
Power to the Pixel (2009)
Context: Audiences want to support artists. Which is pretty much how it's always been except during the last 100 years where it's turned into this really vicious, cutthroat, nasty business with all these blood-thirsty, parasitic middle-men. But historically, artists were relatively poor and supported directly by their audiences. There's a great book called The Gift by Lewis Hyde. You know, art is a gift and it turns out the audience is happy to give back.

John Williams, quoted in Jones, Alan and Kantonen, Jussi (1999). Saturday Night Forever: The Story of Disco, p.74. Chicago, Illinois: A Cappella Books. ISBN 1556524110.
See: Disco.

Los Angeles Times interview (1956)
Context: I always work on the theory that the audience will believe you best if you believe yourself. This meant that I had to come to understand Moses well enough to believe in my portrayal of him.

Tinselworm (2008)

Also quoted in "Warrior for Peace" by David Talbot, in TIME (2 July 2007), p. 50 http://www.time.com/time/specials/2007/article/0,28804,1635958_1635999_1634954-6,00.html
1961, Address at the University of Washington
Context: We increase our arms at a heavy cost, primarily to make certain that we will not have to use them. We must face up to the chance of war, if we are to maintain the peace. We must work with certain countries lacking in freedom in order to strengthen the cause of freedom. We find some who call themselves neutral who are our friends and sympathetic to us, and others who call themselves neutral who are unremittingly hostile to us. And as the most powerful defender of freedom on earth, we find ourselves unable to escape the responsibilities of freedom, and yet unable to exercise it without restraints imposed by the very freedoms we seek to protect. We cannot, as a free nation, compete with our adversaries in tactics of terror, assassination, false promises, counterfeit mobs and crises. We cannot, under the scrutiny of a free press and public, tell different stories to different audiences, foreign and domestic, friendly and hostile. We cannot abandon the slow processes of consulting with our allies to match the swift expediencies of those who merely dictate to their satellites. We can neither abandon nor control the international organization in which we now cast less than 1 percent of the vote in the General Assembly. We possess weapons of tremendous power — but they are least effective in combating the weapons most often used by freedom's foes: subversion, infiltration, guerrilla warfare, civil disorder. We send arms to other peoples — just as we send them the ideals of democracy in which we believe — but we cannot send them the will to use those arms or to abide by those ideals. And while we believe not only in the force of arms but in the force of right and reason, we have learned that reason does not always appeal to unreasonable men — that it is not always true that "a soft answer turneth away wrath" — and that right does not always make might. In short, we must face problems which do not lend themselves to easy or quick or permanent solutions. And we must face the fact that the United States is neither omnipotent or omniscient — that we are only 6 percent of the world's population — that we cannot impose our will upon the other 94 percent of mankind — that we cannot right every wrong or reverse each adversity — and that therefore there cannot be an American solution to every world problem.

National Book Award Acceptance Speech (1957)
Context: It is true that the poet does not directly address his neighbors; but he does address a great congress of persons who dwell at the back of his mind, a congress of all those who have taught him and whom he has admired; that constitute his ideal audience and his better self. To this congress the poet speaks not of peculiar and personal things, but of what in himself is most common, most anonymous, most fundamental, most true of all men. And he speaks not in private grunts and mutterings but in the public language of the dictionary, of literary tradition, and of the street. Writing poetry is talking to oneself; yet it is a mode of talking to oneself in which the self disappears; and the products something that, though it may not be for everybody, is about everybody.

(10 January 2005)
Unfit for Mass Consumption (blog entries), 2005
Context: The writing of a novel or short story or poem or whatever should elevate the audience, not drag the writer down to some level beneath herself. And she — the author — should fight always to prevent that dragging down, especially when the only possible benefit of allowing it to happen is monetary.

Games for Actors and non-Actors (1992)
Context: In truth the Theatre of the Oppressed has no end, because everything which happens in it must extend into life…. The Theatre of the Oppressed is located precisely on the frontier between fiction and reality – and this border must be crossed. If the show starts in fiction, its objective is to become integrated into reality, into life. Now in 1992, when so many certainties have become so many doubts, when so many dreams have withered on exposure to sunlight, and so many hopes have become as many deceptions – now that we are living through times and situations of great perplexity, full of doubts and uncertainties, now more than ever I believe it is time for a theatre which, at its best, will ask the right questions at the right times. Let us be democratic and ask our audiences to tell us their desires, and let us show them alternatives. Let us hope that one day – please, not too far in the future – we’ll be able to convince or force our governments, our leaders, to do the same; to ask their audiences – us – what they should do, so as to make this world a place to live and be happy in – yes, it is possible – rather than just a vast market in which we sell our goods and our souls. Let’s hope. Let’s work for it!

Bewilderness (DVD, 2001)

"About the screenplay for Strangers on a Train" (notes, 1950), first published in Raymond Chandler Speaking (1962), section "Chandler on the Film World and Television", p. 134
Context: When you read a story, you accept its implausibilities and extravagances, because they are no more fantastic than the conventions of the medium itself. But when you look at real people, moving against a real background, and hear them speaking real words, your imagination is anaesthetized. You accept what you see and hear, but you do not complement it from the resources of your own imagination. The motion picture is like a picture of a lady in a half-piece bathing suit. If she wore a few more clothes, you might be intrigued. If she wore no clothes at all, you might be shocked. But the way it is, you are occupied with noticing that her knees are too bony and that her toenails are too large. The modern film tries too hard to be real. Its techniques of illusion are so perfect that it requires no contribution from the audience but a mouthful of popcorn.

Pointed to a sign on the wall: a spider with a line through it. "Oh, fair enough."
He said "I can offer you an upgrade, fifty quid, and we can include in it policies set in place by the Marquis de Laplace, the French scientist who declared that all things in the universe are predetermined, so you would be covered even if time-travel was invented during the period of rental.”
I said, "Nah, probably leave it."
Part Troll (2004)

Review http://www.rogerebert.com/reviews/dice-rules-1991 of Dice Rules (17 May 1991)
Reviews, Zero star reviews
Context: Crowds can be frightening. They have a way of impressing the low, base taste upon their members. Watching the way thousands of people in his audience could not think for themselves, could not find the courage to allow their ordinary feelings of decency and taste to prevail, I understood better how demagogues are possible.

A Conversation with Martin de Maat (1998)
Context: The base of the work is one of individuals believing in themselves, trusting themselves in the moment and being accepting of themselves and the people around them. In order to improvise in front of an audience, you have to be accepting, involved in the moment and courageous. Those issues, when transferred over to general communication, makes the communication richer and helps in all areas of life.

Godspell Script Notes and Revisions (1999) http://www.webcitation.org/query?url=http://www.geocities.com/cugodspell/scriptnotes.html&date=2009-10-25+17:58:43
Context: Above all, the first act of Godspell must be about the formation of a community. Eight separate individuals, led and guided by Jesus (who is helped by his assistant, John the Baptist/Judas), gradually come to form a communal unit. This happens through the playing of games and the telling and absorption of lessons, and each of the eight individuals has his or her own moment of committing to Jesus and to the community. When Jesus applies clown make-up to their faces after "Save the People," he is having them take on an external physical manifestation that they are his disciples, temporarily separating them from the rest of society. But the internal journey of each character is separate and takes its individual course and period of time. Exactly when and why this moment of commitment occurs is one of the important choices each of the actors must make, in collaboration of course with the director. At the end of the first act, the audience is invited to join the community through the sharing of wine (or grape juice), mingling with the actors during intermission.

Review of Magnolia in Chicago Sun-Times (7 January 2000) http://www.rogerebert.com/reviews/magnolia-2000
Reviews, Four star reviews
Context: Magnolia is operatic in its ambition, a great, joyous leap into melodrama and coincidence, with ragged emotions, crimes and punishments, deathbed scenes, romantic dreams, generational turmoil and celestial intervention, all scored to insistent music. It is not a timid film. … The movie is an interlocking series of episodes that take place during one day in Los Angeles, sometimes even at the same moment. Its characters are linked by blood, coincidence and by the way their lives seem parallel. Themes emerge: the deaths of fathers, the resentments of children, the failure of early promise, the way all plans and ambitions can be undermined by sudden and astonishing events. … All of these threads converge, in one way or another, upon an event there is no way for the audience to anticipate. This event is not "cheating," as some critics have argued, because the prologue fully prepares the way for it, as do some subtle references to Exodus. It works like the hand of God, reminding us of the absurdity of daring to plan. And yet plan we must, because we are human, and because sometimes our plans work out.
Magnolia is the kind of film I instinctively respond to. Leave logic at the door. Do not expect subdued taste and restraint, but instead a kind of operatic ecstasy. At three hours it is even operatic in length, as its themes unfold, its characters strive against the dying of the light, and the great wheel of chance rolls on toward them.

As quoted in "A conversation with Garth Nix" by Claire E. White at Writers Write (July-August 2000) http://www.writerswrite.com/journal/jul00/nix.htm
Context: I don't believe authors need to keep any specific values or ideas in mind while they are writing for children, but I do think authors need to be aware of their audience, and of the effect their work may have. So if they want to address particularly sensitive topics or taboos, they have to do so consciously and carefully. This is very different to toeing a particular moral line or leaving things out.
Certainly I don't think good always has to triumph over evil; it depends on the story and the aims of the book. For example, I could envisage telling a story where the inaction of people leads to the triumph of evil. But I would include the hope that this would lead to the people involved doing better next time. Is that story then really about the triumph of evil, or is it about the awakening of opposition to evil?

" Fanfare http://englishatheist.org/mencken/Rascoe-Mencken.htm", in H. L. Mencken (1920) http://www.archive.org/details/hlmencken00newyrich
Context: When H. L. Mencken unpacks his idiomatic brasses, tunes up his verbal strings, and gets in readiness his phrasal wood winds to orchestrate a fugue in damnation or in praise of man, god or book, his all too meagre audience cancels all other engagements to be on hand at the initial presentation. The result, that audience knows, will be an experience of pure enjoyment. His musicianship is unfailing. His program is unsatisfactory only in its impermanence. Though the theme he proposes is invariably Mencken — Mencken apropos of this or that — he gives it infinite and intricate variations.

As quoted in The Fabulous Fanny : The Story of Fanny Brice (1953) by Norman Katkov, p. 71
Context: Your audience gives you everything you need. They tell you. There is no director who can direct you like an audience. You step out on the stage and you can feel it is a nervous audience. So you calm them down. I come out before an audience and maybe my house burned down an hour ago, maybe my husband stayed out all night, but I stand there. I'm still. I don't move. I wait for the introduction. Maybe I cough. Maybe I touch myself. But before I do anything, I got them with me, right there in my hand and comfortable. That's my job, to make them comfortable, because if they wanted to be nervous they could have stayed home and added up their bills.

" Gavitt's Original Ethiopian Serenaders http://utc.iath.virginia.edu/minstrel/miar03at.html," The North Star (Rochester, N. Y.: 29 June 1849).
1840s
Context: Partly from a love of music, and partly from curiosity to see persons of color exaggerating the peculiarities of their race, we were induced last evening to hear these Serenaders. The Company is said to be composed entirely of colored people, and it may be so. We observed, however, that they too had recourse to the burnt cork and lamp black, the better to express their characters and to produce uniformity of complexion. Their lips, too, were evidently painted, and otherwise exaggerated. Their singing generally was but an imitation of white performers, and not even a tolerable representation of the character of colored people. Their attempts at wit showed them to possess a plentiful lack of it, and gave their audience a very low idea of the shrewdness and sharpness of the race to which they belong. With two or three exceptions, they were a poor set, and will make themselves ridiculous wherever they go. We heard but one really fine voice among the whole, and that was Cooper's, who is truly an excellent singer; and a company possessing equal ability with himself, would no doubt, be very successful in commanding the respect and patronage of the public generally. Davis (the Bones) too, is certainly a master player; but the Tambourine was an utter failure. B. Richardson is an extraordinary character. His Virginia Breakdown excelled anything which we have ever seen of that description of dancing. He is certainly far before the dancer in the Company of the Campbells. We are not sure that our readers will approve of our mention of those persons, so strong must be their dislike of everything that seems to feed the flame of American prejudice against colored people; and in this they may be right, but we think otherwise. It is something gained when the colored man in any form can appear before a white audience; and we think that even this company, with industry, application, and a proper cultivation of their taste, may yet be instrumental in removing the prejudice against our race. But they must cease to exaggerate the exaggerations of our enemies; and represent the colored man rather as he is, than as Ethiopian Minstrels usually represent him to be. They will then command the respect of both races; whereas now they only shock the taste of the one, and provoke the disgust of the other. Let Cooper, Davis and Richardson bring around themselves persons of equal skill, and seek to improve, relying more upon the refinement of the public, than its vulgarity; let them strive to conform to it, rather than to cater to the lower elements of the baser sort, and they may do much to elevate themselves and their race in popular estimation.

On her first performance in the contest, as quoted in "Britain’s Got Talent star Susan Boyle won't get makeover says Amanda Holden" in The Mirror (17 April 2009) http://www.mirror.co.uk/celebs/news/2009/04/17/britain-s-got-talent-star-susan-boyle-won-t-get-makeover-says-amanda-holden-115875-21283622/
Context: It was nerve-racking to begin with but once I started and the audience accepted it I relaxed. It has been surreal. I didn’t realise this would be the reaction I just got on with it. I can hardly remember what happened. I had my eyes closed most of the time. It really didn’t dawn on me what was happening.
I did it all for my late mum. I wanted to show I could do something with my life.

National Cartoonist Society talk, 1994 http://web.archive.org/web/20070416184458/http://www.planetcartoonist.com/editorial/success_charlesschulz.shtml
Context: I never give my work to somebody else and say, "What do you think about that?" I just don't trust anybody. If I think it's funny, or if I think it's silly, I send it in anyway because I'm just trying to please myself. I never try to please a certain audience. I think that's disastrous. There's no way in the world you can anticipate what your reader is going to like or dislike.

"How to Love God" (12 September 1954).
General sources
Context: When I say I am the Avatar, there are a few who feel happy, some who feel shocked, and many who hearing me claim this, would take me for a hypocrite, a fraud, a supreme egoist, or just mad. If I were to say every one of you is an Avatar, a few would be tickled, and many would consider it a blasphemy or a joke. The fact that God being One, Indivisible and equally in us all, we can be nought else but one, is too much for the duality-conscious mind to accept. Yet each of us is what the other is. I know I am the Avatar in every sense of the word, and that each one of you is an Avatar in one sense or the other.
It is an unalterable and universally recognized fact since time immemorial that God knows everything, God does everything, and that nothing happens but by the Will of God. Therefore it is God who makes me say I am the Avatar, and that each one of you is an Avatar. Again, it is He Who is tickled through some, and through others is shocked. It is God Who acts, and God Who reacts. It is He Who scoffs, and He Who responds. He is the Creator, the Producer, the Actor and the Audience in His own Divine Play.

Brown : The Last Discovery of America (2003)
Context: My reading was scheduled for the six-thirty slot by the University of Arizona. A few hundred people showed up – old more than young; mostly brown. I liked my "them," in any case, for coming to listen, postponing their dinners. In the middle of one of my paragraphs, a young man stood to gather his papers, then retreated up the aisle, pushed open the door at the back of the auditorium. In the trapezoid of lobby-light thus revealed, I could see a crowd was forming for the eight o'clock reading — a lesbian poet. Then the door closed, resealed the present; I continued to read, but wondered to myself: Why couldn't I get the lesbians for an hour? And the lesbian poet serenade my Mexican audience?

Letter to a group of Occidental College students (1955)
Context: When I first went to Occidental College... there was a literary magazine... called the Aurora, and I remember thinking it odd that Occidental — the west, the setting sun — should be represented by a magazine called Aurora, the dawn. At least it gave us a wide range, the whole daylight sky.
I was continually writing verses in those days. Nobody, not even I myself, thought they were good verses; but Aurora's editor accepted many of them and it gave me pleasure to see my rhymes in print. They did rhyme, if that is any value, and were usually metrical, but why was I so eager to publish what hardly anyone would read and no one would remember? I suppose the desire for publication is a normal part of the instinct for writing... the writer sits at home, and the mere fact of being printed provides his verses with a kind of audience... So, having his vanity partially satisfied, he can go ahead and try better work.

Franny and Zooey (1961), Zooey (1957)
Context: Seymour'd told me to shine my shoes just as I was going out the door with Waker. I was furious. The studio audience were all morons, the announcer was a moron, the sponsors were morons, and I just damn well wasn't going to shine my shoes for them, I told Seymour. I said they couldn't see them anyway, where we sat. He said to shine them anyway. He said to shine them for the Fat Lady. I didn't know what the hell he was talking about, but he had a very Seymour look on his face, and so I did it. He never did tell me who the Fat Lady was, but I shined my shoes for the Fat Lady every time I ever went on the air again — all the years you and I were on the program together, if you remember. I don't think I missed more than just a couple of times. This terribly clear, clear picture of the Fat Lady formed in my mind. I had her sitting on this porch all day, swatting flies, with her radio going full-blast from morning till night. I figured the heat was terrible, and she probably had cancer, and — I don't know. Anyway, it seemed goddam clear why Seymour wanted me to shine my shoes when I went on the air. It made sense.

Singh, T. (2016). India's broken tryst. Noida, Uttar Pradesh, India : HarperCollins Publishers India, 2016.

Interviewed by Zora Burden https://zoraburden.weebly.com/jack-sargeant.html (2014)

On her film If Beale Street Could Talk (for which she won Best Supporting Actress) in “Regina King on fighting white supremacists in Watchmen: 'My community is living this story'” https://www.theguardian.com/tv-and-radio/2019/oct/16/regina-king-beale-street-watchmen-superhero-hbo-dc-comics-oscar-actor in The Guardian (2019 Oct 16)

Source: Good Government: Hope or Illusion? (1978), p. 14

How Does Dan Deacon Work? http://www.slate.com/articles/podcasts/working/2017/05/working_in_baltimore_how_does_dan_deacon_work.html (May 9, 2017)

Bradbury Talk Likely to Feature the Unexpected (1994)

On acting in various mediums in “Interview: Benjamin Bratt” https://www.cinemablend.com/new/Interview-Benjamin-Bratt-6673.html in Cinema Blend

Source: On how she aimed to preserve the spoken word feel for her book The Poet X in “Debut Author Elizabeth Acevedo on 'The Poet X'” https://www.publishersweekly.com/pw/by-topic/childrens/childrens-authors/article/76224-q-a-with-elizabeth-acevedo.html in Publishers Weekly (2018 Mar 6)

On how to cultivate Chinese theater in the United States in “DAVID HENRY HWANG ON THEATRE, TRUMP, AND ASIAN-AMERICAN IDENTITY” https://thetheatretimes.com/david-henry-hwang-on-theatre-trump-and-asian-american-identity/ in Theatre World (2019 Mar 15)

On connecting with your audience in “Life’s Work: An Interview with Trevor Noah” https://hbr.org/2018/09/lifes-work-an-interview-with-trevor-noah in Harvard Business Review (September-October, 2018)
Personal life

On avoiding the label of magical realism in “Octavio Solis’s Journey to ‘Mother Road’” https://www.americantheatre.org/2019/09/09/octavio-soliss-journey-to-mother-road/ (American Theatre; Sept 2019)

On her concept of plays in “Carmen Rivera” https://www.newschool.edu/drama/faculty/carmen-rivera/ (The New School Drama)

On how he defines good storytelling in “San Jose’s Christopher Oscar Peña no longer ‘Insecure’ about work” https://www.sfchronicle.com/tv/article/San-Jose-s-Christopher-Oscar-Pe-a-no-longer-11297163.php in SF Gate (2017 Jul 18)

On how theater differs from television in “Playwright Kristoffer Diaz steps into the ring” https://www.latimes.com/entertainment/la-xpm-2011-aug-21-la-ca-chad-deity-20110821-story.html in the Los Angeles Times (2011 Aug 21)

Urban Naxals (2018)

Source: Abaddon's Gate (2013), Chapter 12 (p. 128)

http://www.coldplay.com/flaming-lips-interview/ source

On how her alter ego helps her cope with adulthood in “Awkwafina: ‘I was always the crazy one, the funny one. I’d do anything for a laugh’” https://www.theguardian.com/film/2018/jun/17/awkwafina-oceans-8-youtube-crazy-funny-nora-lum in The Guardian (2018 Jun 17)

"Host: Deep into the mercenary world of take-no-prisoners political talk radio." The Atlantic, April 2005.
Essays

On the impact of The Inheritance in “PLAYWRIGHT MATTHEW LOPEZ WANTS TO HEAR YOUR STORIES” https://www.interviewmagazine.com/culture/matthew-lopez-the-inheritance-broadway-play-aids-gay-storytelling in Interview Magazine (2019 Nov 14)

On choosing her pacing (as quoted in the book Strange Fruit: Plays on Lynching by American Women https://books.google.com/books?id=G1il9uQG3A8C&pg=PA319&lpg=PA319&dq; 1998)

On a dramatic work having its own energy in “GEORGE C. WOLFE” https://www.interviewmagazine.com/culture/george-c-wolfe in Interview Magazine (2016 May 9)

On what attracted him to theater in “August Wilson, The Art of Theater No. 14” https://www.theparisreview.org/interviews/839/august-wilson-the-art-of-theater-no-14-august-wilson in The Paris Review (Winter 1999)

Star Wars was entertainment for the masses and did not try to be anything more. Leave your sophistication at the door, get into the spirit, and you can have a fun ride. … Seeing a rotten picture for the special effects is like eating a tough steak for the smothered onions, or reading a bad book for the dirty parts. Optical wizardry is something a movie can do that a book can’t but it is no substitute for a story, for logic, for meaning. It is ornamentation, not substance. In fact, whenever a science fiction picture is praised overeffusively for its special effects, I know it’s a bad picture. Is that all they can find to talk about?
"Editorial: The Reluctant Critic", in Isaac Asimov’s Science Fiction Magazine, Vol. 2, Issue 6, (12 November 1978) https://archive.org/stream/Asimovs_v02n06_1978-11-12/
General sources

"John Kerry had sex in coffins hundreds of times in Satanic ritual" https://www.youtube.com/watch?time_continue=135&v=5aeLkXDvO-g, September 2013
2013

Source: The Laundry Files, The Jennifer Morgue (2006), Chapter 2, “Going Down to Dunwich” (pp. 42-43)

Source: The Group (1963), Ch. 8

1840s, Essays: Second Series (1844), Nominalist and Realist

On the 2002 MTV Video Music Awards
Quoted in "MTV hypefest turns into snoozer", originally published in the Chicago Sun-Times, August 30 2002
2000s

Her quote on Master of ceremonies in Businessworld, dated September 17, 2019 http://everythingexperiential.businessworld.in/article/For-an-Emcee-every-event-is-a-new-experience-Lipi-Goyal/17-09-2019-176236/.

Steven Nadler, in his article Why Spinoza still matters https://aeon.co/essays/at-a-time-of-zealotry-spinoza-matters-more-than-ever (Aeon.co, 28 April 2016)
M - R, Steven Nadler

Elst, Koenraad (2002). Who is a Hindu?: Hindu revivalist views of Animism, Buddhism, Sikhism, and other offshoots of Hinduism. ISBN 978-8185990743

Z̤iāʼulḥasan Fārūq in: p. 1-2.
About Zakir Hussain, Quest for Truth (1999)

In [Khandekar, Vanita Kohli-, The Indian Media Business, http://books.google.com/books?id=1C4nAgAAQBAJ&pg=PA176, 3 October 2013, SAGE Publications, 978-81-321-1788-9, 176]

Critique V. Gangadhar unraveling the enigma of Rekha
Queen bee:The legend of Rekha

Quoted in Love, anger, the works!, 7 December 2013, Filmfare http://downloads.movies.indiatimes.com/site/june2002/flashback.html,

Writer Bhawana Somaaya in [Bhawana Somaaya, Fragmented Frames: Reflections of a Critic, http://books.google.com/books?id=HQ3Yi9VPU8QC&pg=PP201, 1 January 2008, Pustak Mahal, 978-81-223-1016-0, 201–]

Ron Howard, Nikki Finke, Editor in Chief. "EXCLUSIVE: Ron Howard On Andy Griffith". Deadline.com. Retrieved 2014-04-16.

Naman Ramachandran The Other Rajinikanth (5 January 2014) http://www.dailypioneer.com/sunday-edition/agenda/150th-anniversary-issue/the-other-rajinikanth.html

Lee Jamieson, Antonin Artaud: From Theory to Practice, Greenwich Exchange, 2007, p. 23.

The Life of Ramakrishna by Romain Rolland, translated by E.F. Malcolm-Smith, Advaita Ashrama.

Quoted by Charu Chandra Banerjee in a speech at Dhaka Purva Bangla Brahmo Samaj. Published in the Prabashi, Pous 1340 (1933). Reprinted in Brahmananda Keshub Chunder Sen “Testimonies in Memoriam”. Compiled by G.C.Banerji, Allahabad , 1934

Violating the Boundaries: An Interview with Richard Rodriguez (1999)

Idle Thoughts of an Idle Fellow (1886)

Roland Barthes, "The Face of Garbo," Mythologies (1957), trans. Annette Lavers [Farrar, Straus, 1986, ISBN 0-374-52150-6], p. 56

source http://www.followmearound.com/presscuttings.php?year=1997&cutting=46

Dr. Pages, Chief Executive Officer Universal Forum of Cultures, Barcelona, Spain. June 14, 2004
About, 2000s

An Ape About the House, p. 802
2000s and posthumous publications, The Collected Stories of Arthur C. Clarke (2001)

On her painting style in “Lucy Liu on making art to find a sense of belonging” https://www.cnn.com/style/article/lucy-liu-artsy/index.html in CNN (2019 Nov 28)

As quoted in "Rutherford's Timebomb" in The New Zealand (15 May 2004) http://www.nzherald.co.nz/section/1/story.cfm?c_id=1&objectid=3566551

[David Marchese, https://www.nytimes.com/interactive/2020/03/02/magazine/aaron-sorkin-interview.html?fbclid=IwAR3oNlfDJVpKDH4pjapLoSHjdT1kiW2Pa2sUhq_7qR5priCrjz7SSydwk0I, Aaron Sorkin on how he would write the Democratic primary for ‘The West Wing.’, New York Times, March 1, 2020, March 2, 2020]