Quotes about kit

A collection of quotes on the topic of kit, likeness, going, doing.

Quotes about kit

David Almond photo
Elinor Ostrom photo
Kathy Reichs photo
Cassandra Clare photo
Richard Brautigan photo
Cassandra Clare photo
Jonathan Safran Foer photo
Cassandra Clare photo
Pat Condell photo
Earl Butz photo

“Food is a tool. It is a weapon in the U. S. negotiating kit”

Earl Butz (1909–2008) American government official

Cited in: " Food Fights http://www.inthesetimes.com/mobile/article/food_fights" By Jeremy Gantz on inthesetimes.com

Chris Cornell photo
Ferenc Puskás photo
Dhyan Chand photo
Kit Carson photo

“Sex and politics - sex and politicians. I never understand how any politician gets a shag, really. Can you? A classic example: the David Mellor sex scandal. I bet you're the same as me. We're not shocked by these scandals involving politicians. I bet when that happened, your response was not 'Good God, that's outrageous! A man in his job, he should be running the country, not messing about like this; no wonder we're in a state; terrible!' No, that wasn't the response. You open the paper, you read about that, and you go 'Ha ha ha ha - I don't think so, Dave! I don't think so. In your dreams, perhaps.' The interesting person in that relationship is not him; it's her - Antonia. A woman of mystery; a mystery woman. Antonia de Sancha, always described as an 'unemployed actress'. Unemployed actress? How's she an unemployed actress? God! if you can feign sexual interest in David Mellor, I should think Chekhov's a piece of piss. So, she thinks 'I'm an actress. It's a role. I'll prepare'. She gets to the bedroom situation. He's in a kit-off situation, and there's Antonia giving it 'Red lorry, yellow lorry - Peter Piper picked a peck of pickled pepper'. But the hair - that's the main unattractive thing. What barber told him that suited him? Someone winding him up there. 'Yes, David, that'll suit you, mate: a greasy, oily flap of dirty-looking patent leather, wafting about down one side of your moosh; that'll drive those unemployed actresses mental!' (Linda Live, 1993)”

Linda Smith (1958–2006) comedian

Stand-up

Chetan Bhagat photo

“Girls handbags have enough to make a survival kit for Antarctica.”

Source: One Night @ the Call Center (2005), P. 82

Roger Ebert photo

“The movie stars six teenage characters who have been marketed on TV and in toy stores. They have names, but no discernible personalities. None of them ever says anything more interesting than "You guys!" As teenagers, they are skilled in-line skaters and karate fighters, but they don't get their real powers until they turn into faceless clones in Power Rangers uniforms with plastic masks and helmets. Is that the message? Faceless conformity is the way to success? Certainly the Rangers are not individuals in or out of uniform, but I wonder if they don't represent a triumph of merchandising over creativity. Children's heroes have traditionally been individualistic and eccentric. The Rangers are not, properly speaking, even characters. They are color-coded products… Paging through the movie's press kit, I came across this quote attributed to Amy Jo Johnson, who plays Kimberly, the Pink Power Ranger: " `Mighty Morphin Power Rangers™: The Movie' is a mix between Star Wars and The Wizard of Oz. " I wonder if Amy Jo actually said "TM" when she was delivering that wonderfully fresh and spontaneous quote, which is so much more involved than anything she says in the movie. More to the point, I wonder if she has ever seen "Star Wars" or "The Wizard of Oz."”

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

Review http://www.rogerebert.com/reviews/mighty-morphin-power-rangers-the-movie-1995 of Mighty Morphin' Power Rangers: The Movie (30 June 1995)
Reviews, Half-star reviews

Robert Lynn Asprin photo

“But—as Kit and Sven had been so fond of saying—the Universe didn’t give beans for “fair.” It simply was. You got it right or paid the price.”

Robert Lynn Asprin (1946–2008) American science fiction and fantasy author

Source: Time Scout (1995), Chapter 17 (p. 364)

Dylan Moran photo
Susan Sarandon photo

“Every relationship starts out with a dream of what you think it's going to be, and you either have the tool kit when you get to the hard spots where you'll make it through, or you need to move on.”

Susan Sarandon (1946) American actress

As quoted in "Susan Sarandon On 'Jeff Who Lives At Home'" in The Daily Beast (16 March 2012) http://www.thedailybeast.com/articles/2012/03/16/susan-sarandon-on-jeff-who-lives-at-home-limbaugh-the-gop-tim-robbins-and-more
Quote

Derren Brown photo
Steven Pinker photo
Robert Lynn Asprin photo
Charles Dickens photo
Robert Lynn Asprin photo

““She’s young, Kit.”
“That’s no excuse. The universe doesn’t give a damn when it squashes you.””

Robert Lynn Asprin (1946–2008) American science fiction and fantasy author

Source: Time Scout (1995), Chapter 13 (p. 264)

Donald J. Trump photo

“but we have to do it gently because we're in the #MeToo generation, so we have to be very gentle.
we will very gently take that kit, and we will slowly toss it, hoping it doesn't hit her and injure her arm.”

Donald J. Trump (1946) 45th President of the United States of America

5 July 2018 per Washington Post https://www.washingtonpost.com/politics/trump-mocks-metoo-movement-in-montana-rally/2018/07/05/fad40ce2-80b3-11e8-b660-4d0f9f0351f1_story.html?noredirect=on
2010s, 2018, July

Robert Lynn Asprin photo
Don DeLillo photo

“We drove 22 miles into the country around Farmington. There were meadows and apple orchards. White fences trailed through the rolling fields. Soon the sign started appearing. THE MOST PHOTOGRAPHED BARN IN AMERICA. We counted five signs before we reached the site. There were 40 cars and a tour bus in the makeshift lot. We walked along a cowpath to the slightly elevated spot set aside for viewing and photographing. All the people had cameras; some had tripods, telephoto lenses, filter kits. A man in a booth sold postcards and slides -- pictures of the barn taken from the elevated spot. We stood near a grove of trees and watched the photographers. Murray maintained a prolonged silence, occasionally scrawling some notes in a little book. "No one sees the barn," he said finally. A long silence followed. "Once you've seen the signs about the barn, it becomes impossible to see the barn." He fell silent once more. People with cameras left the elevated site, replaced by others. We're not here to capture an image, we're here to maintain one. Every photograph reinforces the aura. Can you feel it, Jack? An accumulation of nameless energies." There was an extended silence. The man in the booth sold postcards and slides. "Being here is a kind of spiritual surrender. We see only what the others see. The thousands who were here in the past, those who will come in the future. We've agreed to be part of a collective perception. It literally colors our vision. A religious experience in a way, like all tourism."”

Another silence ensued. "They are taking pictures of taking pictures," he said.”
White Noise (1984)

Marshall McLuhan photo

“He is setting up a mosaic configuration or galaxy for insight … Innis makes no effort to "spell out" the interrelations between the components in his galaxy. He offers no consumer packages in his later work, but only do-it-yourself kits…”

Source: The Gutenberg Galaxy (1962), p. 216; this paragraph was quoted as "context (0) - THE INNIS MODE" by John Brunner, the epigraph or first chapter in his novel Stand on Zanzibar (1968)
Context: There is nothing willful or arbitrary about the Innis mode of expression. Were it to be translated into perspective prose, it would not only require huge space, but the insight into the modes of interplay among forms of organisation would also be lost. Innis sacrificed point of view and prestige to his sense of the urgent need for insight. A point of view can be a dangerous luxury when substituted for insight and understanding. As Innis got more insight he abandoned any mere point of view in his presentation of knowledge. When he interrelates the development of the steam press with 'the consolidation of the vernaculars' and the rise of nationalism and revolution he is not reporting anybody's point of view, least of all his own. He is setting up a mosaic configuration or galaxy for insight … Innis makes no effort to "spell out" the interrelations between the components in his galaxy. He offers no consumer packages in his later work, but only do-it-yourself kits...

Ogden Nash photo

“Among other things I think humor is a shield, a weapon, a survival kit…”

Ogden Nash (1902–1971) American poet

Commencement address at his daughter Linell's boarding school, as quoted http://www.washingtonpost.com/wp-dyn/content/article/2005/05/05/AR2005050501359_pf.html in The Washington Post (8 May 2005)
Context: Among other things I think humor is a shield, a weapon, a survival kit... So here we are several billion of us, crowded into our global concentration camp for the duration. How are we to survive? Solemnity is not the answer, any more than witless and irresponsible frivolity is. I think our best chance lies in humor, which in this case means a wry acceptance of our predicament. We don't have to like it but we can at least recognize its ridiculous aspects, one of which is ourselves.

Bobby Robson photo
Bill Bryson photo

“Making models was reputed to be hugely enjoyable… But when you got the kit home and opened the box the contents turned out to be of a uniform leaden gray or olive green, consisting of perhaps sixty thousand tiny parts, some no larger than a proton, all attached in some organic, inseparable way to plastic stalks like swizzle sticks. The tubes of glue by contrast were the size of large pastry tubes. No matter how gently you depressed them they would blurp out a pint or so of a clear viscous goo whose one instinct was to attach itself to some foreign object—a human finger, the living-room drapes, the fur of a passing animal—and become an infinitely long string. Any attempt to break the string resulted in the creation of more strings. Within moments you would be attached to hundreds of sagging strands, all connected to something that had nothing to do with model airplanes or World War II. The only thing the glue wouldn’t stick to, interestingly, was a piece of plastic model; then it just became a slippery lubricant that allowed any two pieces of model to glide endlessly over each other, never drying. The upshot was that after about forty minutes of intensive but troubled endeavor you and your immediate surroundings were covered in a glistening spiderweb of glue at the heart of which was a gray fuselage with one wing on upside down and a pilot accidentally but irremediably attached by his flying cap to the cockpit ceiling. Happily by this point you were so high on the glue that you didn’t give a shit about the pilot, the model, or anything else.”

Source: The Life And Times of the Thunderbolt Kid (2006), p. 81

Sidney Poitier photo