Quotes about epic
page 2

“Since 1977, there have been many science fiction movies, but none has managed to equal [A New Hope's] blend of adventure, likable characters, and epic storytelling.”

James Berardinelli (1967) American film critic

Review http://www.reelviews.net/movies/s/sw1.html of Star Wars Episode IV: A New Hope (1977). Four star reviews

Hope, Science

“And so I have conceived that the news, properly presented, should be a sort of cross-section of the character of current human experience. It should delineate character, quality, tendencies and implications. In this way the reporter exercises his genius. Out of the current events he does not make a drab and sordid story, but rather an informing and enlightened epic. His work becomes no longer imitative, but rises to an original art.”

Calvin Coolidge (1872–1933) American politician, 30th president of the United States (in office from 1923 to 1929)

1920s, The Press Under a Free Government (1925)

Art, Way, Exercises

“In the religious traditions of the Hindus, the most important author of sacred texts is Krishna Dvaipayana Vyasa. He is traditionally credited with the arrangement of the Veda into four texts as well as the composition of the epic Mahbharata (Mbh), many Puranas, and other works. Vyasa, however, has been described as mythical as his existence is impossible to prove except in myths and legends such as are preserved in the epic.”

Vyasa central and revered figure in most Hindu traditions

In p. 1.
Sources, Seer of the Fifth Veda: Kr̥ṣṇa Dvaipāyana Vyāsa in the Mahābhārata

“I think one word we can agree Bob is, uh? Epic, classic. Thriller, block-buster. I think all the clichés were made real. I mean? You woke up this morning, saying you felt nervous about this game. Now, I know why.”

Ian Darke (1950) British association football and boxing commentator

Brazil v. United States http://www.listenonrepeat.com/watch/?v=ke8XNArZvVU (10 July 2011). 2010s, 2011, 2011 FIFA Women's World Cup

Game, Thinking

“Khan is played as a cauldron of resentment by Ricardo Montalban, and his performance is so strong that he helps illustrate a general principle involving not only Star Trek but Star Wars and all the epic serials, especially the James Bond movies: Each film is only as good as its villain. Since the heroes and the gimmicks tend to repeat from film to film, only a great villain can transform a good try into a triumph.”

Roger Ebert (1942–2013) American film critic, author, journalist, and TV presenter

Review http://www.rogerebert.com/reviews/star-trek-ii-the-wrath-of-khan-1982 of Star Trek II: The Wrath of Khan (1 January 1982) Reviews, Three star reviews

War, Star, Strong, Help

“The incorporation of… earlier sources does not mean that the Pentateuch or Former Prophets is the work of an editor who pasted together various docuements. Once we view the work as a whole, we see that it is a fresh creation though not a creatio ex nihilo. The same holds for Homeric Epic that has been subjected to the same kinds of modern literary criticism.”

Cyrus H. Gordon (1908–2001) American linguist

Source: The Common Background of Greek and Hebrew Civilizations (1965 [1962]), Ch.VIII Further Observations on the Bible

Past

“WE ARE IN THE MIDST OF AN EPIC CHANGE in the nature of work. The First Industrial Revolution ended slave and serf labor. The Second Industrial Revolution dramatically shrank agricultural and craft labor. The Third Industrial Revolution is sunsetting mass wage labor in the manufacturing and service industries and salaried professional labor in large parts of the knowledge sector.”

Jeremy Rifkin (1945) American economist

The Zero Marginal Cost Society: The Internet of Things, the Collaborative Commons, and the Eclipse of Capitalism (2014)

Nature, Knowledge, Change, Parting

“When the characters of epic and heroic saga are on significant missions, they are led divinely.”

Cyrus H. Gordon (1908–2001) American linguist

Source: The Common Background of Greek and Hebrew Civilizations (1965 [1962]), Ch.VII Further Observations on Homer

“He is Karna, whom the world has abandoned. Karna Alone. Condemned goods. A prince raised in poverty. Born to die unfairly, unarmed and alone at the hands of his brother. Majestic in his complete despair. Praying on the banks of the Ganga. Stoned out of his skull.
Then Kunti appeared. She too was a man, but a man grown soft and womanly, a man with breasts, from doing female parts for years. Her movements were fluid. Full of women. Kunti, too, was stoned. High on the same shared joints. She had come to tell Karna a story.
Karna inclined his beautiful head and listened.
Red-eyed, Kunti danced for him. She told him of a young woman who had been granted a boon. A secret mantra that she could use to choose a lover from among the gods. Of how, with the imprudence of youth, the woman decided to test it to see if it really worked. How she stood alone in an empty field, turned her face to the heavens and recited the mantra. The words had scarcely left her foolish lips, Kunti said, when Surya, the God of Day, appeared before her. The young woman, bewitched by the beauty of the shimmering young god, gave herself to him. Nine months later she bore him a son. The baby was born sheathed in light, with gold earrings in his ears and a gold breastplate on his chest, engraved with the emblem of the sun.
The young mother loved her first-born son deeply, Kunti said, but she was unmarried and couldn't keep him. She put him in a reed basket and cast him away in a river. The child was found downriver by Adhirata, a charioteer. And named Karna.
Karna looked up to Kunti. Who was she? Who was my mother? Tell me where she is. Take me to her.
Kunti bowed her head. She's here, she said. Standing before you.
Karna's elation and anger at the revelation. His dance of confusion and despair. Where were you, he asked her, when I needed you the most? Did you ever hold me in your arms? Did you feed me? Did you ever look for me? Did you wonder where I might be?
In reply Kunti took the regal face in her hands, green the face, red the eyes, and kissed him on his brow. Karna shuddered in delight. A warrior reduced to infancy. The ecstasy of that kiss. He dispatched it to the ends of his body. To his toes. His fingertips. His lovely mother's kiss. Did you know how much I missed you? Rahel could see it coursing through his veins, as clearly as an egg travelling down an ostrich's neck.
A travelling kiss whose journey was cut short by dismay when Karna realised that his mother had revealed herself to him only to secure the safety of her five other, more beloved sons - the Pandavas - poised on the brink of their epic battle with their one hundred cousins. It is them that Kunti sought to protect by announcing to Karna that she was his mother. She had a promise to extract.
She invoked the Love Laws.”

Arundhati Roy book The God of Small Things

pages 232-233.
The God of Small Things (1997)

Love, Women, God, Secret

“Lucas, Laddie. Flying Colours: The Epic Story of Douglas Bader. London: Hutchinson Publishing Group, 1981.”

Douglas Bader (1910–1982) British World War II flying ace

References

Flying

“It would be far more logical to say that the epic movie BEN HUR happened by accident than to say that there is no God.”

Ray Comfort (1949) New Zealand-born Christian minister and evangelist

God doesn't believe in atheists (2002)

God

“It has been quite humorous watching the acolytes of the iPhone sink into deeper and deeper denial as Android blows through obstacles at ever-accelerating speed. It would require an epic poet, or perhaps a psychiatrist specializing in religious mania, to do full justice to this topic.”

Eric S. Raymond (1957) American computer programmer, author, and advocate for the open source movement

The Smartphone Wars: The Stages of Apple-Cultist Denial http://esr.ibiblio.org/?p=3132 in Armed and Dangerous (18 April 2011)

Justice, Speed

“A religious naturalist is a naturalist who has adopted the epic as a core narrative and goes on to explore its religious potential, developing interpretive, spiritual and moral/ethical responses to the story.”

Ursula Goodenough (1943) American biologist

"Exploring The Religious Naturalist Option", 13.7: Cosmos & Culture (23 November 2014) http://www.npr.org/blogs/13.7/2014/11/23/366104014/exploring-the-religious-naturalist-option Context: Scientific inquiry has provisioned us with a mind-boggling new core narrative — the epic of evolution, the epic of creation, the universe story, big history, everybody's story — where humans and human cultures are understood to be emergent from and, hence, a part of nature. Naturalists adopt this account as their core narrative, with full recognition that these understandings will certainly deepen and may shift with further scientific inquiry. They adopt the story currently on offer and do not simply select features of the story that support preferred theories of nature. … A religious naturalist is a naturalist who has adopted the epic as a core narrative and goes on to explore its religious potential, developing interpretive, spiritual and moral/ethical responses to the story. Importantly, these responses are not front-loaded into the story as they are in the traditions. Therefore, the religious naturalist engages in a process, both individually and in the company of fellow explorers, to discover and experience them. These explorations are informed and guided by the mindful understandings inherent in our human traditions, including art, literature, philosophy and the religions of the world.

“I spent my nights reading Proust’s A Remembrance of Things Past, admiring the lucid, subtle but strong prose, stupefied by its dazzling magic, awed by the vast, delicate, intricate, and psychological structure of the Frenchman’s epic of death and decadence. But it crushed me with hopelessness, for I wanted to write of the people in my environment with an equal thoroughness, and the burning example before my eyes made me feel that I never could.”

Richard Wright book Black Boy

Black Boy (1945)

Death, People, Feeling, Strong

“Despise it not, ye Bards to terror steel'd,
Who hurl'd your thunders round the epic field”

Joel Barlow (1754–1812) American diplomat

Canto 1: st. 1, lines 1–10
The Hasty-Pudding (1793)
Context: Despise it not, ye Bards to terror steel'd,
Who hurl'd your thunders round the epic field;
Nor ye who strain your midnight throats to sing
Joys that the vineyard and the still-house bring;
Or on some distant fair your notes employ,
And speak of raptures that you ne'er enjoy.
I sing the sweets I know, the charms I feel,
My morning incense, and my evening meal,
The sweets of Hasty-Pudding. Come, dear bowl,
Glide o'er my palate, and inspire my soul.

“If archeology had yielded only the Epic of Kret, we would have enough to bridge the gap between the Iliad and Genesis. But… our new sources are so rich that we have only begun”

Cyrus H. Gordon (1908–2001) American linguist

Source: The Common Background of Greek and Hebrew Civilizations (1965 [1962]), Ch.VIII Further Observations on the Bible
Context: If archeology had yielded only the Epic of Kret, we would have enough to bridge the gap between the Iliad and Genesis. But... our new sources are so rich that we have only begun... The years ahead bid fair to be the most fruitful in the annals of Classical and Biblical scholarship. Our debt to the Bible and Classics is so great that this type of research will deepen our understanding of our culture and of ourselves.

“The function of reciting (actually chanting—for Scripture and national epic were sung, not read) Pentateuch and Homer at national reunions is the same in both cases. The narrative knits the segments of the nation together telling how they achieved their place in history in the course of a great event (The Exodus or the Trojan War). All of the tribes and their leaders are heroic. The text brings in each tribe by name. …there must be an honoured place for all.”

Cyrus H. Gordon (1908–2001) American linguist

Source: The Common Background of Greek and Hebrew Civilizations (1965 [1962]), Ch.VIII Further Observations on the Bible

War, History, Reading

“As far as I can tell, my story is part autobiography, part hero's journey, part epic fantasy, part travelogue, part faerie tale, part coming of age story, part romance, part mystery, part metafictional-nested-story-frame-tale-something-or-other.
I am, quite frankly, making this up as I go.”

Patrick Rothfuss (1973) American fantasy writer

On the progress of The Wise Man's Fear in "Concerning the Release of Book Two" (26 February 2009) http://blog.patrickrothfuss.com/2009/02/concerning-the-release-of-book-two/ Official site Context: My book is different. In case you hadn't noticed, the story I'm telling is a little different. It's a little shy on the Aristotelian unities. It doesn't follow the classic Hollywood three-act structure. It's not like a five-act Shakespearean play. It's not like a Harlequin romance. So what *is* the structure then? Fuck if I know. That's part of what's taking me so long to figure out. As far as I can tell, my story is part autobiography, part hero's journey, part epic fantasy, part travelogue, part faerie tale, part coming of age story, part romance, part mystery, part metafictional-nested-story-frame-tale-something-or-other. I am, quite frankly, making this up as I go. If I get it right, I get something like The Name of the Wind. Something that makes all of us happy. But if I fuck it up, I'll end up with a confusing tangled mess of a story. Now I'm not trying to claim that I'm unique in this. That I'm some lone pioneer mapping the uncharted storylands. Other authors do it too. My point is that doing something like this takes more time that writing another shitty, predictable Lord of the Rings knockoff. Sometimes I think it would be nice to write a that sort of book. It would be nice to be able to use those well-established structures like a sort of recipe. A map. A paint-by-numbers kit. It would be so much easier, and quicker. But it wouldn't be a better book. And it's not really the sort of book I want to write.

Age, Parting

“This epic before us is going to be written by the hungry Indian masses, the peasants without land, the exploited workers.”

Ernesto Che Guevara (1928–1967) Argentine Marxist revolutionary

Address to the United Nations (1964)
Context: This epic before us is going to be written by the hungry Indian masses, the peasants without land, the exploited workers. It is going to be written by the progressive masses, the honest and brilliant intellectuals, who so greatly abound in our suffering Latin American lands. Struggles of masses and ideas. An epic that will be carried forward by our peoples, mistreated and scorned by imperialism; our people, unreckoned with until today, who are now beginning to shake off their slumber. Imperialism considered us a weak and submissive flock; and now it begins to be terrified of that flock; a gigantic flock of 200 million Latin Americans in whom Yankee monopoly capitalism now sees its gravediggers.

“Epic poetry is divinely inspired (Iliad I: I) and as such is just as true as oracles, and for the same reason. It is no accident that oracles (such as those at Delphi) were enunciated in the same dactylic hexameter as the epic.”

Cyrus H. Gordon (1908–2001) American linguist

Source: The Common Background of Greek and Hebrew Civilizations (1965 [1962]), Ch.VII Further Observations on Homer

“Humans need stories — grand compelling stories — that help to orient us in our lives in the cosmos. The Epic of Evolution is such a story, beautifully suited to anchor our search for planetary consensus, telling us of our nature, our place, our context.”

Ursula Goodenough book The Sacred Depths of Nature

Source: The Sacred Depths of Nature (1998), p. 174
Context: Humans need stories — grand compelling stories — that help to orient us in our lives in the cosmos. The Epic of Evolution is such a story, beautifully suited to anchor our search for planetary consensus, telling us of our nature, our place, our context. Moreover, responses to this story — what we are calling religious naturalism — can yield deep and abiding spiritual experiences. And then, after that, we need other stories as well, human-centered stories, a mythos that embodies our ideals and our passions. This mythos comes to us, often in experiences called revelation, from the sages and the artists of past and present times.

Search, Nature, Help

“I will be double-damned to a better Hell than Hellpepper Planet if I will have my ending here in peace! Peace be not the end of my epic!”

R. A. Lafferty (1914–2002) American writer

Roadstrum, in Ch. 8
Space Chantey (1968)
Context: I will be double-damned to a better Hell than Hellpepper Planet if I will have my ending here in peace! Peace be not the end of my epic! An epic is already failed if it have an ending. I don't care how it ended the first time — it will not end the same now!

Peace, Hell

“Sarah and Dinah are heroines according to the standards of royal epic.”

Cyrus H. Gordon (1908–2001) American linguist

Source: The Common Background of Greek and Hebrew Civilizations (1965 [1962]), Ch.VIII Further Observations on the Bible
Context: Once we recognize the factor of royal epic in Genesis, we see that the Helen-of-Troy motif permeates the Patriarchal Narratives.... Like Helen and Hurrai, Sarah and Dinah are heroines according to the standards of royal epic.

“Science unrolls a greater epic than the Iliad. The present day teems with new discoveries in Fact, which are greater, as regards the soul and prospect of men, than all the disquisitions and quiddities of the Schoolmen.”

Edward FitzGerald (1809–1883) English poet and writer

Letter to Edward Byles Cowell, quoted in The Life of Edward FitzGerald, Translator of the Rubáiyát of Omar Khayyán (1947) by Alfred McKinley Terhune, p. 146.
Context: Science unrolls a greater epic than the Iliad. The present day teems with new discoveries in Fact, which are greater, as regards the soul and prospect of men, than all the disquisitions and quiddities of the Schoolmen. A few fossil bones in clay and limestone have opened a greater vista back into time than the Indian imagination ventured upon for its Gods: and every day turns up something new. This vision of Time must not only wither the poet's hope of immortality, it is in itself more wonderful than all the conceptions of Dante and Milton.

Men, Soul, Science

“That both the Gilgamesh Epic and the Odyssey deal with the episodic wanderings of a hero, would not be sufficiently specific to establish a genuine relation between them. But”

Cyrus H. Gordon (1908–2001) American linguist

Introduction
The Common Background of Greek and Hebrew Civilizations (1965 [1962])
Context: That both the Gilgamesh Epic and the Odyssey deal with the episodic wanderings of a hero, would not be sufficiently specific to establish a genuine relation between them. But when both epics begin with the declaration that the hero gained experience from his wide wanderings, and end with his homecoming, a relationship dimly appears.... when we note that whole episodes are in essential agreement, we are on firmer ground. For instance, both Gilgamesh and Odysseus reject a goddess's proposal for marriage; and each of the heroes interviews his dead companion in Hades.

“Feminine passion is to masculine as an epic is to an epigram. ”

Karl Kraus (1874–1936) Czech playwright and publicist

Passion

“The Dream, as I now know, is not best served by making parodies of it, and it does not greatly matter after all whether a book be an epic or a directory. What really matters is that there is so much faith and love and kindliness which we can share with and provoke in others, and that by cleanly, simple, generous living we approach perfection in the highest and most lovely of all arts.... But you, I think, have always comprehended this.”

James Branch Cabell (1879–1958) American author

"Auctorial Induction"
The Certain Hour (1916)

Love, Books, Making love, Faith

“I chose to rewrite it in poetry because the original Ramayana was in poetry- the fact is, it’s sort of been corrupted into prose. In its original form it was an epic poem rather like the Iliad or works of that sort. Rather than traditional poetry, it was a verse novel, without a traditional structure. What I most wanted to do was to preserve the essential musicality of the lines. Especially as the Ramayana like so many stories, was based on a fundamentally oral tradition.”

Daljit Nagra (1966) British poet, teacher and broadcaster

On reworking the Ramayana in “An Interview With Daljit Nagra” https://www.thebubble.org.uk/culture/literature/an-interview-with-daljit-nagra/ in The Bubble (2014 Sept 17)

Music

“River names in northern India are thus principally Sanskrit, with few indications of Dravidian, MuNDa or Tibeto-Burmese names. However, Kosala, with its uncharacteristic -s- after -o- may be Tibeto-Burmese (Sanskrit rules would demand KoSala or KoSala, a corrected form that is indeed adopted in the Epics).”

Michael Witzel (1943) German-American philologist

... To sum up, what does the evidence of
Early Indian history: Linguistic and textual parametres

Aziz Ansari (1983) American actor and stand-up comedian

Age

“Valmiki, Vyasa and Kalidasa are the Indian equivalents of Homer, Dante and Shakespeare. The story of Rama, the ideal son and ruler, Sita, the ideal wife, Bharata and Lakshmana, the ideal brothers and Hanuman, the ideal devotee, has been so beautifully stated in the epic poem of Ramayana that even in the remotest village of India, even the most illiterate man, woman or child is familiar with the characters and situations in the story. The credit for this goes to the poetic and dramatic genius of Valmiki.”

Vālmīki Legendary Indian poet, author of the Ramayana

Sri Aurobindo
Valmiki

“Valmiki (14th - 15th century B. C.), the author of the epic Ramayana, bears comparison with Homer.”

Vālmīki Legendary Indian poet, author of the Ramayana

Valmiki

“Tulsidas is the highest tree in the garden of Hindu poetry, though his name does not appear in Aeen-i-Akbari or any book of Muslim historians or even narratives of European writers who worked on information taken from Persian historians. Yet, Tuslidas was the greatest man of India of his time. In fact he can be called greater than Akbar because the victory that the poet registered in the hearts of thousands of millions of people was greater and more lasting than all the imperious victories put together…the Ramacharritamanas is such an enormous epic that its English adaptation by Growse is of 362 pages. The declinations in this epic are so similar to Christianity that on numerous spots, if Rama is replaced by Christ, there can be no question.”

Tulsidas (1532–1623) Hindu poet-saint

Vincent Smith in "A Garden of Deeds: Ramacharitmanas, a Message of Human Ethics", pp.34-35
On Tulsidas’s epic Ramacharritamanas

People, Books, Question, Tree

“Tuslidas’s attitude toward life and literature was distinctly more objective. Quite naturally, therefore, he has used the objective forms–the epic and the narrative- besides of course, the lyric as vehicles of his devotional poetry.”

Tulsidas (1532–1623) Hindu poet-saint

K. R. Sundararajan in Hindu spirituality: Postclassical and modern http://books.google.co.in/books?id=LO0DpWElIRIC&pg=PA306&hl=en#v=onepage&q=Bhakti&f=false, p. 73

Life, Literature, Nature

“Tulsidas was a poor recluse who lived an ascetic life and prompted by an inner light, adapted an old epic in folk-verse which broke all barriers and spread far and wide.”

Tulsidas (1532–1623) Hindu poet-saint

Shiva Kumar Tripathi in "A Garden of Deeds: Ramacharitmanas, a Message of Human Ethics", p. 36

Life, Light

“Science unrolls a greater epic than the Iliad.”

Edward FitzGerald (1809–1883) English poet and writer

The present day teems with new discoveries in Fact, which are greater, as regards the soul and prospect of men, than all the disquisitions and quiddities of the Schoolmen. A few fossil bones in clay and limestone have opened a greater vista back into time than the Indian imagination ventured upon for its Gods: and every day turns up something new. This vision of Time must not only wither the poet's hope of immortality, it is in itself more wonderful than all the conceptions of Dante and Milton.
Letter to Edward Byles Cowell, quoted in The Life of Edward FitzGerald, Translator of the Rubáiyát of Omar Khayyán (1947) by Alfred McKinley Terhune, p. 146.

Science

“Sarojini Naidu : Kingly was Deshbandhu Das in every impulse and gesture of his life, royal alike in the splendour of his bounty and the splendour of his renunciation. As the idol of the nation he served with unsurpassing devotion. To the generations of tomorrow, he will grow into a radiant figure of historic legend and romance, a vital portion of epic beauty and grandeur of their spiritual heritage.”

Chittaranjan Das (1870–1925) Indian politician and leader of the Swaraj Party

Source: Collected Works of Deshbandhu.

Life, Beauty

“Far from making ‘America great again,’ this epic policy failure will further tarnish the United States’ reputation as a country that knows how to do things effectively.”

Stephen M. Walt (1955) American political scientist

Quoted byJulian Borger in US awol from world stage as China tries on global leadership for size, The Guardian https://www.theguardian.com/world/2020/mar/29/us-awol-from-world-stage-as-china-tries-on-global-leadership-for-size, Berger followed the quote with the words: Walt wrote in Foreign Policy, in a commentary titled “the death of American competence https://foreignpolicy.com/2020/03/23/death-american-competence-reputation-coronavirus/”, March 29, 2020

Making love, Failure, Country

“I am what I am. I am Christ and Antichrist, God and Satan, Heaven and Hiroshima, Arcadia and Auschwitz.” Smiling devilishly, Sarkos lumbered up to Lovett. “Get it, fat boy? God is a duality. Dr. Jehovah and Mr. Hyde.” He lobbed the bottle cap into his mouth and chewed. “Allow me to tell you a bedtime story. It’s called ‘The Day the Gas Chambers Malfunctioned at Auschwitz.’ On second thought, why bother? You know the plot—the title gives it away—I’m surprised Braverman and Kelvin left it out of their overblown epic. Can you imagine how it feels to be a seven-year-old Jewish child, standing in line with hundreds of other Jewish children, waiting your turn to be thrown alive onto an open fire?”

James K. Morrow (1947) (1947-) science fiction author

Swallowing the bottle cap, Sarkos swerved toward Martin. “Don’t you see? It’s the only solution that can possibly work. No other theory comes close. Of course God has a dark side. Not just dark—evil. Radically, radically evil.”
Source: Blameless in Abaddon (1996), Chapter 15 (p. 390; spoken by the Devil, named Jonathan Sarkos in the book)

God, Children, Smile, Feeling

“Etymologically, patient means sufferer. It is not suffering as such that is most deeply feared but suffering that degrades. That illness can be not an epic of suffering but the occasion of some kind of self-transcendence is affirmed by sentimental literature and, more convincingly, by case histories offered by doctor-writers. Some illnesses seem more apt than others for this kind of meditation.”

Susan Sontag book AIDS and Its Metaphors

Source: AIDS and Its Metaphors, (1989), ch. 4, p. 125, Farrar, Straus and Giroux ISBN 0-312-42013-7 ; later published in combination with Illness As Metaphor. This combined edition is the one referenced here.

Fear, History, Literature, Suffering

“epic ; supreme court rules nabisco is legally allowed to label their products as "Homemade" after forcing the employees to live at the factory”

Dril Twitter user

[ Link to tweet https://twitter.com/dril/status/1288582330261467136] Tweets by year, 2020

“My fascination is with relationships at their most microcosmic. The more epic, the more uninteresting the film-making becomes. It becomes about getting the perfect crane shot.”

Lynn Shelton (1965–2020) American film director, screenwriter, film editor, actress and film producer (1965-2020)

Journalist Tim Teeman's Blog - Lynn Shelton: Hannah, her sister and their lover - 19 June 2012 https://www.timteeman.com/2012/06/19/lynn-shelton-hannah-her-sister-and-their-lover/ - Archive https://web.archive.org/web/20210727184304/https://www.timteeman.com/2012/06/19/lynn-shelton-hannah-her-sister-and-their-lover/

Perfection

“Epic literature is not history but is again a way of looking at the past.”

Romila Thapar (1931) Indian historian

Source: Early India: From the Origins to AD 1300, p. 100.

Way, History, Literature, Past

“I was once dead but I live again, I think independence is epic fortnite win.”

Olof Palme (1927–1986) Swedish 20th century prime minister

Thinking, Dead

Quotes about epic page 2

Quotes about epic
page 2