Quotes about max

A collection of quotes on the topic of max, likeness, use, fang.

Quotes about max

“She helped me feel like I could take risks with the music, which you’re often told not to do. When you watch her, you see that it makes a difference. From now on, I am not going to be afraid to individualize my performances to the max. I won’t be afraid of liberties, if the score permits them. I know I can do it.”

Megan Marie Hart (1983) American opera singer

on Marilyn Horne's influence; 2005, as quoted by Zachary Lewis https://solokeyboard.typepad.com/Music2005Final.doc and edited into the Oberlin Review article The Marilyn Horne Experience http://www2.oberlin.edu/con/connews/2006/of_note.html#3

Music, Help, Making love, Feeling

“Max, for some people there are no victories, just alternate forms of losing.”

David Niven (1910–1983) English actor and novelist

People, Victory

“Miracle Max: Have fun stormin' da castle.
Valerie: Think it'll work?
Miracle Max: It would take a miracle.”

William Goldman book The Princess Bride

Source: The Princess Bride

Thinking

“Tell me, when you are alone with him [ Max Beerbohm ] Sphinx, does he take off his face and reveal his mask?”

Oscar Wilde (1854–1900) Irish writer and poet

In a letter to Ada Leverson [Sphinx] recorded in her book Letters To The Sphinx From Oscar Wilde and Reminiscences of the Author (1930)

“Hey, Jimmie! The Chimney Sweeps. Talk to the Sword. Shut up, you got a big mouth! Please come help me up, Henny. Max come over here. French Canadian bean soup. I want to pay. Let them leave me alone.”

Dutch Schultz (1902–1935) American mobster

From police transcripts of incoherent deathbed confession

Help

“I have never read Max Weber and do not know how he has arrived at the conclusion that “more tribals joined the Hindu mainstream as a result of the Muslim shock than the number of Hindus who were converted to Islam”. Perhaps he had in mind the people of Assam whom Bakhtyar Khalji and a few other Muslim invaders tried to subjugate, or the hill people all over our northern borders whom Muhammad Tughlaq tried to conquer but failed, or the Gonds who fought Akbar under Maharani Durgavati, or the Bhils who fought for freedom under Maharana Pratap, or the Mavlas who joined Shivaji at a later date. But the very fact that these so-called “tribals” fought spontaneously against the Muslim marauders rather than walk over to the winning side goes to prove that they shared a common culture with the rest of the natives.”

Sita Ram Goel book The Story of Islamic Imperialism in India

The Story of Islamic Imperialism in India (1994)

People, Freedom, Reading

“I am a huge bodybuilder from Africa. I have met mickey mouse once in Disneyland which had given me the courage to push along as now my max for bench has increased to 50 and squat max is also 50. This just goes to show how hard you can push yourself.”

#1 Broncos Fan

Courage

“Jackpot, Max! Jackpot!" It was Fang and he was giggling hysterically.
For those of you just joining us, Fang doesn't giggle, esspecially hysterically.”

James Patterson (1947) American author

Source: Fang

“Max," Jace said. "Max, I’m so sorry.”

Cassandra Clare book City of Fallen Angels

Source: City of Fallen Angels

“I love you Max,"Fang said…"God, Max I love you so much."
I know. I thought. I've always known”

James Patterson (1947) American author

Love, God

“You're just here for the ride. For the incredible, indescribable Maximum Ride.
--Max's Voice”

James Patterson (1947) American author

“Dead Max was the biggest oxymoron in history.”

James Patterson (1947) American author

Source: Nevermore

History, Dead

“I have an idea. It’s risky, and Max will kill us when she finds out.”
Iggy raised his head. “Sounds like my kind of idea.”

James Patterson (1947) American author

Source: The Angel Experiment

Idea

“Fang felt a cold jolt, then dismissed it. Max wasn’t dead. He would know, somehow. He would have felt it. The world still felt the same to him; therefore, Max was still in it.”

James Patterson (1947) American author

Source: Saving the World and Other Extreme Sports

World, Dead

“Max lifted his head, with great sorrow and great astonishment.
'There were stars,' He said. 'They burned my eyes.’
… from a Himmel street window, he wrote, the stars set fire to my eyes.”

Markus Zusak book The Book Thief

Source: The Book Thief

Star

“The sky is blue today, Max, and there is a big long cloud, and it's stretched out, like a rope. At the end of it, the sun is
like a yellow hole…”

Markus Zusak book The Book Thief

Source: The Book Thief

Sun

“I'm a freaking princess when it comes to other people's feelings. Yo dogbreath, get your paws of the everglades. -Max”

James Patterson (1947) American author

Source: School's Out—Forever

People, Feeling, Princess

“They aren't the brightest crayons in the box
-Max(saving the world and other extreme sports)”

James Patterson (1947) American author

World, Sport, Box

“I choose you, Max. -Fang”

James Patterson book Maximum Ride

Source: Max

“Max?” said the Gasman. “Are those, um, rats?”
Lovely. “Yes, those do appear to be either rats or mice on steroids,” I said briskly, trying not to shriek and climb the walls like a girly-girl.”

James Patterson (1947) American author

Source: The Angel Experiment

Love, Girl, Appearance

“So there you have it, the extent of my charms: brown hair and eyes like unbarfed chocolate. I'm a lucky girl." -Max”

James Patterson book Maximum Ride

Source: Max

Girl

“Gazzy: (Hugging himself and jumping up and down) "I'm brilliant! I'm a genius! I can blow up the world!"
Max: (Raises her eyebrows)
Gazzy: "Not that I would want to, of course," (coughs)”

James Patterson book Maximum Ride

Source: Max

World

“And Max, the king of all wild things, was lonely and wanted to be where someone loved him best of all.”

Maurice Sendak book Where the Wild Things Are

Source: Where the Wild Things Are

Love

“How she still thought of Max every day and it was like someone had emptied her lungs of air, and she would catch at her heart, afraid she was dying.”

Cassandra Clare The City of Lost Souls

Source: City of Lost Souls

Heart

“Max, you're the last of the hybrids who still has… a soul.'… 'She doesn't have soul,' Gazzy scoffed. 'Have you ever seen her dance?”

James Patterson (1947) American author

Source: Saving the World and Other Extreme Sports

Soul, Dance

“What happened to your tan?"--Fang
"It was dirt." --Max”

James Patterson (1947) American author

Source: The Final Warning

“Hi, Max," she said, pushing her shades up onto her curls.
"I hope your wearing sunscreen," i said, “your gonna have hella wrinkles by the time your ten.”
“Want some daiquiri?” she offered, pointing at a blender.
“Is it traitor flavored?” I asked.”

James Patterson (1947) American author

Source: Fang

Hope, Time

“Max Rose: Vo? What kind of name is that?
Spader: What kind of name is Rose? Isn't that some kind of flower?”

D.J. MacHale (1955) American television director and producer

Flowers

“Oh no! Don't drag us away from Antartica and take us to the playground of the rich and famous! Not that briar patch! -Max”

James Patterson (1947) American author

Source: The Final Warning

“Now, Max, I think we both know your parents aren't missionaries."
I opened my eyes wide. "No? Well, for God's sake, don't tell them. They'd be crushed. Thinking they're doing the
Lord's work and all.”

James Patterson (1947) American author

Source: School's Out—Forever

God, Thinking, Parent

“Fang? Are you- like Max?" asked Dr. Martinez.
"Nope,"he said, sounding bored. "I'm the smart one."
I resisted the urge to kick him in the shin.”

James Patterson (1947) American author

Source: Saving the World and Other Extreme Sports

“I wouldn’t trust you if you were the last life raft leaving the Titanic.”-max”

James Patterson (1947) American author

Source: Fang

Life

“Jeb climbed the ladder Fang had just lowered and I indulged in a moments fantasy about someone slamming the trapdoor on his head.”-max”

James Patterson (1947) American author

Source: Fang

“THE LAST WORDS OF MAX VANDENBURG: You've done enough.”

Markus Zusak book The Book Thief

The Book Thief

“what was fang going to do BLOG about max throwing herself into space so she wouldn't have to kiss him again? NO instead he smashed his fist against the cave wall then grimaced at the pain and stupidity seeing his bloodied knuckles”

James Patterson (1947) American author

Source: Saving the World and Other Extreme Sports

Pain, Stupidity, Kiss

“You can call me Agent Mickelson,' he told me with a smile. 'What about you? Is Max short for something? Maxine?'
'No, Dean. It's just Max.”

James Patterson (1947) American author

Source: School's Out—Forever

Smile

“Nudge threw her arms around my neck. 'I love you Max! I love all of us too!'
Yeah, me too,' Said the Gasman. 'I don't care if we have our house, or a cliff ledge, or a cardboard box. Home is wherever we all are, together.”

James Patterson (1947) American author

Love, Home, Housing, Box

“Fang: When do I get out of here?
Max: They say a week.
Fang: So, like, tomorrow?
Max: That's what I'm thinking.”

James Patterson (1947) American author

Source: School's Out—Forever

Thinking

“Max Ernst died the 1st of August 1914. He resuscitated the 11th of November 1918 as a young man aspiring to become a magician and to find the myth of his time.”

Max Ernst (1891–1976) German painter, sculptor and graphic artist

Quote in 'Some Data on the Youth of M. E., As Told by Himself' in the w:View (April 1942); also cited in Max Ernst and Alchemy (2001) by M. E. Warlick, p. 17
Max Ernst refers to his serving-period on the Western and then on the Eastern front during World War 1 (1914-1918)
1936 - 1950

Time

“What test?" Asked Nudge.
"Max, you're incorruptible."
"Only by power." I said. "You haven't tried chocolate yet.”

James Patterson (1947) American author

Source: Saving the World and Other Extreme Sports

“Don't ever leave me again." -Max
I won't. I won't not ever." -Fang”

James Patterson (1947) American author

“My invite must have gotten lost in the mail," she said venomously. "But I don't mind crashing this party.

-Maximum Ride talking to Max II”

James Patterson (1947) American author

Source: School's Out—Forever

“Max, if you survive your final test, can you steal me one of those magic outfits for me?"
I'll try to get one for each of us. Hey! 'If'?”

James Patterson (1947) American author

Source: Saving the World and Other Extreme Sports

“When are you going to trust me Max?" asked Fang.
"When I go completely bonkers," I laughed.”

James Patterson (1947) American author

Source: The Angel Experiment

“Nudge: "I look like prep school Barbie. (looks at Max) Actually, you look like prep school Barbie. I'm just Barbie's friend.”

James Patterson (1947) American author

Source: School's Out—Forever

School

“Dr. Martinez: "I take it you don't want me to call your parent?"
Max: "Uh, no." Hello, lab? May I speak to the test tube please?”

James Patterson (1947) American author

Source: The Angel Experiment

Parent

“She gave 'The Dream Carrier' to Max as if words alone could nourish him.”

Markus Zusak book The Book Thief

Source: The Book Thief

Dreams

“I'm gonna barf," I whispered to Fang, wiping my sweaty hands on my jeans.
You'll be fine," he whipered back. "You always are.
I'm gonna die," I moaned.
You can't die," he said a hint of a smile in his voice."You're the indesructible Max.”

James Patterson (1947) American author

Smile

“Max: "Okay guys, I had a couple thoughts I wanted to go over with you."
Iggy: (pretends to snore loudy)
Max: (throws another pinecone at him)
Iggy: "Quit throwing things at me!"
Max: "Glad you could join us.”

James Patterson (1947) American author

Source: The Final Warning

Guy

“Maybe one day it will be just you and me, my little blueberry," Magnus said conversationally. "But not for a long, long time. We'll take care of him, you and I. Won't we?"
Max Lightwood made a happy burbling sound that Magnus took as agreement.”

Cassandra Clare (1973) American author

Source: Born to Endless Night

Time, Happiness

“Max-Dogs, dogs, go away, let me live another day.”

James Patterson (1947) American author

Source: The Angel Experiment

Dogs

“Yeah sure, why not?"i said, making a mental note to get a good look at his wings. For all I knew, they were remote-controlled and duct taped to his back.”
-max”

James Patterson (1947) American author

Source: Fang

“Max-I'm not going to die today.”

James Patterson (1947) American author

Source: The Angel Experiment

“He gives my hand a tight squeeze, but that desperation, that urgency between us is gone. No insecurities. Max and Fang. Fang and Max. No longer a question. We just are.”

James Patterson (1947) American author

Question

“Max: "Fang! This is a huge break! Of course we should go check it out!"
Fang: "But we're grounded."
Max and Fang: (stare at each other for a second and burst out laughing)”

James Patterson (1947) American author

Source: School's Out—Forever

“You were designed to be very smart, Max,' she told me. 'We electrically stimulated your synaptic nerve endings while your brain was developing.' (The director)
And yet I still can't program my DVD player,' I said." (Max)”

James Patterson (1947) American author

“What are you doing here?” [ndr prison]
Selling Girl Scout cookies,” I said. “Want some? The Samoas are terrific.”
(Max II to Max)”

James Patterson (1947) American author

Source: Saving the World and Other Extreme Sports

Girl, Scouting

“Crows," Maximus breathed. "Was that who I think it was?"
"Phrygiar Navaris," Tavi said, nodding.
"What was she doing here?" Max asked.
"Getting humiliated, mostly. Especially there at the end.”

Jim Butcher Captain's Fury

Source: Captain's Fury

Thinking

“I love the way music inside a car makes you feel invisible; if you play the stereo at max volume, it's almost like the other people can't see into your vehicle. It tints your windows, somehow.”

Chuck Klosterman book Killing Yourself to Live: 85% of a True Story

Source: Killing Yourself to Live: 85% of a True Story

Love, People, Music, Cars

“Yes, Max, you are going to die. Just like everybody else.
Thank you, Confucious.”

James Patterson (1947) American author

“Max Bialystock: I'm wearing a cardboard belt!”

Mel Brooks (1926) American director, writer, actor, and producer

The Producers

“By insisting on having your bottle pointing to the north when the cork is being drawn, and calling the waiter Max, you may induce an impression on your guests which hours of laboured boasting might be powerless to achieve. For this purpose, however, the guests must be chosen as carefully as the wine.”

Saki The Chronicles of Clovis

"The Chaplet"
The Chronicles of Clovis (1911)

Wine

“The 2nd of April (1891) at 9:45 a. m. Max Ernst had his first contact with the sensible world, when he came out of the egg which his mother had laid in an eagle's nest and which the bird had brooded for seven years.”

Max Ernst (1891–1976) German painter, sculptor and graphic artist

Quote in 'Some Data on the Youth of M. E., As Told by Himself', in the View (April 1942); also quoted in Max Ernst and Alchemy (2001) by M. E. Warlick, p. 10
1936 - 1950

World, Bird

“Did you really just ask me if I want it to be bad? I have kids! What do you think? "Yeah, I don't want them to have any kind of a -- I want things to corrode to the point where we're all living in huts." […] [I] "like things to go a little wrong" like birdshot to the face of a guy that would survive, not "like things to go wrong" till it's like Mad Max, every-man-for-himself-let's-all-ride-around-and-machine-guns, which seems to be the way that it's”

Jon Stewart (1962) American political satirist, writer, television host, actor, media critic and stand-up comedian

going
Responding to King's suggestion that as a political comedian Stewart would "want things to be bad" because that would provide him with the most fodder for jokes

Way, Guy, Thinking, Madness

“The new perspective also manifested itself in other ways: the shift of attention to sociologists such as Max Weber who were primarily concerned, not with overall 'development', but with the one specific development, that of modern society; the tendency to be concerned with those aspects of Marxism relevant to this one transition, and to ignore its Evolutionist aspects; and, recently and most characteristically, the concern with the notion of industrial society, and its antithesis, to the detriment of other classifications, oppositions and alternatives.”

Ernest Gellner (1925–1995) Czech anthropologist, philosopher and sociologist

Thought and Change (1964)

Way

“Let me start a different/ analysis by recalling an idea from Max Weber. He characterized cultural modernity as the separation of the substantive reason expressed in religion and metaphysics into three autonomous spheres. They are science, morality and art. These came to be differentiated because the unified world-views of religion and metaphysics fell apart. Since the 18th century, the problems inherited from these older world-views could be arranged so as to fall under specific aspects of validity: truth, normative rightness, authenticity and beauty. They could then be handled as questions of knowledge, or of justice and morality, or of taste. Scientific discourse, theories of morality, Jurisprudence, and the production and criticism of art could in turn be institutionalized. Each domain of culture could be made to correspond to cultural professions in which problems could be dealt with as the concern of special experts. This professionalized treatment of the cultural tradition brings to the fore the intrinsic structures of each of the three dimensions of culture. There appear the structures of cognitive-instrumental, of moral-practical and of aesthetic-expressive rationality, each of these under the control of specialists who seem more adept at being logical in these particular ways than other people are. As a result, the distance grows between the culture of the experts and that of the larger public. What accrues to culture through specialized treatment and reflection does not immediately and necessarily become the property of everyday praxis. With cultural rationalization of this sort, the threat increases that the life-world, whose traditional substance has already been devalued, will become more and more impoverished.”

Manuel Castells (1942) Spanish sociologist (b.1942)

Source: Modernity — An Incomplete Project, 1983, p. 8-9

Life, People, Truth, World

“I can remember seeing the movie for the first time at a revival house in L. A. and laughing with everyone else, and never imagining that I would be doing Max one day, even though by then I had already memorized the entire movie.”

Nathan Lane (1956) American actor

On his role in The Producers — reported in Amy Longsdorf (December 25, 2005) "Lane, Broderick play off each other", The Record, p. E01.

Imagination, Time, Housing

“Max Bialystock: That's it, baby, when you've got it, flaunt it, flaunt it!”

Mel Brooks (1926) American director, writer, actor, and producer

The Producers

Baby

“Max Bialystock: How could this happen? I was so careful. I picked the wrong play, the wrong director, the wrong cast. Where did I go right?”

Mel Brooks (1926) American director, writer, actor, and producer

The Producers

“Function and purpose define architecture as a practical arrangement, while form defines architecture as a manifestation of apparition. The world of appariation that we cannot exist without (Max Horkheimer), is a psychological issue related to form.”

Justus Dahinden (1925) Swiss architect

Man and Space - Mensch und Raum 2005

World

“America's first great surrealist artists were named Walt Disney, Max Fleischer, and Tex Avery. Their artistic medium was cartoon animation, though we must remember that cartoons of this era were seen not only by children but by a mixed audience, consisting mainly of adults. These men took — quite literally — the principles of surrealism and turned them into mass entertainment. As Fleischer's scantily clad Betty Boop ran through a phantasmagoric underground landscape to the driving beat of Cab Calloway's "Minnie the Moocher," moviegoers of the Thirties saw surrealist dream-logic unfold more powerfully than in any experimental poem created in Greenwich Village. To this day the greatest moment of North American surrealism is probably Dumbo's drunken nightmare choreographed to the demonic oom-pah-pah of "Pink Elephants on Parade" from Walt Disney's 1941 movie. When the surrealist style was so quickly assimilated into mass-media comedy, what avant-garde poet could consider it sufficiently chic?”

Dana Gioia (1950) American writer

"James Tate and American Surrealism," BBC Radio 3, published in Denver Quarterly (Fall 1998)
Essays

Men, Children, Dreams, Animals

“A painter may know what he does not want.
But woe betide him if he wants to know
what he does want! A painter is lost if he finds himself.
The fact that he has succeeded in not finding
himself is regarded by Max Ernst as his only
'achievement.”

Max Ernst (1891–1976) German painter, sculptor and graphic artist

Quote from 'Max Ernst', exhibition catalogue, Galerie Stangl, Munich, 1967, U.S., pp.6-7, as cited in Edward Quinn, Max Ernst. 1984, Poligrafa, Barcelona. p. 12
1951 - 1976

“When I was at Yale, I hung a bit with the Warhol gang. I used some of his superstar types in early movies. I can't say I had any conversations with him, but I did pass him at Max's Kansas City. But I was a big fan of his movies.”

Lloyd Kaufman (1945) American film director

Village Voice http://www.villagevoice.com/2014-01-15/film/troma-lloyd-kaufman-interview/ January 15, 2014 <br class="br">2014

“The Dada movement was an anti-movement which corresponded to a need born of the first World War. Although neither literary nor pictorial in essence, Dada found its exponents in painters and writers scattered all over the world. Max Ernst's activities in Cologne in 1917 made him the foremost representative of the Dada painters. Between 1919 and 1921 his paintings, drawings and collages depicting the world of the subconscious were already a foretaste of Surrealism... In fact his previous achievements had certainly influenced, to a great extent, the literary Surrealist exploration of the subconscious.”

Marcel Duchamp (1887–1968) French painter and sculptor

Quote in 'Appreciations of other artists': Max Ernst (painter, sculptor author) 1945, by Marcel Duchamp; as cited in Catalog, Collection of the Societé Anonyme, eds. Michel Sanouillet / Elmer Peterson, London 1975, pp. 143- 159
1921 - 1950

War, World, Drawing, Painting

“You know, some people like to call me Mad Max like in the movie.
They may believe it’s an insult. But let me tell you something:
It’s true. I am mad!
I’m mad about government waste!
I’m mad about government borrowing money on the backs of future generations, to benefit big corporations!
I’M MAD THAT THE LIBERALS ARE RUNNING OUR COUNTRY’S FINANCES, AND OUR NATION’S FUTURE, INTO THE GROUND!
I’M MAD THAT THE LIBERAL GOVERNMENT SHRINKS OUR PAYCHECK WITH HIGHT TAXES AND TAKES AWAY OUR FREEDOM.
I’m mad about the federal government constantly meddling in provincial jurisdictions!
I’m mad at politicians who promise anything to get elected!
So yes, you can call me Mad Max.
I don’t mind!
I’m asking you to get mad like me and take your future into your hands.”

Maxime Bernier (1963) Canadian politician

3 October 2016 Facebook post https://www.facebook.com/hon.maximebernier/posts/10154565323228703 quoted 28 May 2018 on Toronto Sun https://torontosun.com/opinion/columnists/bonokoski-mad-maxs-dustup-over-a-liberal-mps-skin-colour-comments <br class="br">About

Money, People, Freedom, Future

“When I had my own company on Traffic and Coonskin, all metaphors were able to get to the screen clearly. In Cool World, with the producer and Paramount watching me carefully to make sure I was in good taste, I instinctively poured stuff into the picture that I wanted to talk about. But when you force stuff, it's not really very clear. But, I have a great love for Max Fleischer, especially some of his Black & White Betty Boops with their strange Cab Calloway and Louis Armstrong black folk tale jazz hipness that part of Cool World was a homage in style to those films and that style of cartooning. The Grim Reaper is right out of a Max Fleischer cartoon or old Terrytoons, which is why I hired and love Milton Knight the artist. He understands totally the Uncle Remus fable like qualities behind Fleischer and Terrytoons. Milton Knight is probably the purest artist of that style in the business. He has a hard time because studios think he is old fashioned…but that's the point.”

Ralph Bakshi (1938) Animator, filmmaker

[c. 17 September 2004, http://www.wild-things.com/bray/documents/ralphb.doc, Questions for Ralph Bakshi, DOC, Ralph Bakshi Forum, 2007-11-27]

Love, World, Fashion, Understanding

“[O'Brien's heroes are] William Butler Yeats, Michael Collins, André Malraux, Maurice Ravel, Giorgio Di Cirico, Laurence Olivier and Max Schmeling. And of course the great Douglas Baader, the war pilot who had no legs. When he was captured by the Germans, they allowed the British to parachute his steel legs. And he escaped! So, I don't care about The Merry Wives of Windsor, but talk to me about Douglas Baader!”

Donald O'Brien (actor) (1930–2003) Italian film and TV actor

Euro Trash Cinema magazine interview (March 1996)

War

“A banal fever hallucination, soon obliterated and forgotten; it didn't reappear in M's memory until about thirty years later (on 10 August 1925), as he sat alone on a rainy day in a little inn by the seaside, staring at the wooden floor which had been scored by years of scrubbing, and noticed that the grain had started moving of its own accord (much like the lines on the [imitation] mahogany board of his childhood). As with the mahogany board back then, and as with visions seen between sleeping and waking, the lines formed shifting, changing images, blurred at first but then increasingly precise. Max {Ernst] decided to pursue the symbolism of this compulsory inspiration and, in order to sharpen his meditative and hallucinatory skills, he took a series of drawings from the floorboards. Letting pieces of paper drop at random on the floor, he rubbed over them with a black pencil. On careful inspection of the impressions made in this way, he was surprised by the sudden increase they produced in his visionary abilities. His curiosity was aroused. He was delighted, and began making the same type of inquiry into all sorts of materials, whatever caught his eye – leaves with their ribs, the frayed edges of sacking, the strokes of a palette knife in a 'modern' painting, thread rolling off a spool, and so forth. To quote 'Beyond Painting' These drawings, the first fruits of the frottage technique, were collected under the title 'Histoire Naturell.”

Max Ernst (1891–1976) German painter, sculptor and graphic artist

Quote in 'Biographical Notes. Tissue of truth, Tissue of Lies', 1929; as cited in Max Ernst. A Retrospective, Munich, Prestel, 1991, pp.283/284
1910 - 1935

Way, Quotes, Sleep, Memory

“I am inclined to agree with Max Bom, the German physicist, who reckoned that the acceptance of a new quantum theory would occur only with the passing away of the old physics professors… the acceptance will await a new generation that starts off with a question mark on the old paradigm”

Fred Emery (1925–1997) Australian psychologist

Fred Emery (1992) in: Business review weekly Vol 14, Nr. 34-37. p. 64.

Question

“Compromise is necessary,” Max agreed, “so long as you never give up who you are. That isn’t compromise; that’s spiritual death. You have to remain true to yourself.”

Charles de Lint (1951) author

“Where Desert Spirits Crowd the Night”, p. 291
The Ivory and the Horn (1996)

Death

“We played a gig in the Swiss Alps at a snowboarding convention. Red Bull-this energy sports-fuel drink-sponsored the whole thing. It has some ingredient believed to be bull-testicle extract. We went way off our tour route, had to take two planes and missed a night's sleep. We got up there and there's no snow-it's all mud. You couldn't walk. You'd step and then be up to your knee in mud. So you had several thousand disgruntled snowboarders tanked up to the max on bull-testicle extract. Of course, for some reason, these strapping brutes were made to wait out in the mid and the rain before coming into the tent for the show. When we get up to play, I see this forty-foot gap between us and the audience-they still managed to nail us with empty cans of Red Bull. After a few songs, I wasn't really playing my guitar, I was using it to bay cans back into the crowd of disgruntled sports enthusiasts. It felt like we were A Flock of Seagulls opening for Napalm Death.”

Beck (1970) American Musician (b.1970)

Rolling Stone magazine, 1996

Death, Way, Drink, Sport

“Oh Max, you large lout, you arouse the eternal maternal in me.”

Robert A. Heinlein book Starman Jones

Source: Starman Jones (1953), Chapter 17, “Charity” (p. 185)

Maternity

“Max was the exception. He had no taste for military life or for the prospect of getting shot at. His father, Colonel Maxwell E. Collingwood, USAF (retired), to his credit, tried to hide his disappointment in his only son. But it was there nonetheless, and Max had, on more than one occasion, overheard him wondering aloud to Max’s mother whether there was anything at all to genetics.”

Jack McDevitt book Ancient Shores

Source: Ancient Shores (1996), Chapter 2 (p. 17)

Life, Disappointment

“.. momentarily, we (Erich Heckel, Max Pechstein, and I) are once again at Moritzburg. There is nothing more delightful than nudes in open air.”

Ernst Ludwig Kirchner (1880–1938) German painter, sculptor, engraver and printmaker

note, 1910; in: ' 'Ernst Ludwig Kirchner: ein Künstlerleben in Selbstzeugnissen' ', Andreas Gabelmann; Hatje Cantz Verlag, Ostfildern, Germany 2010, p. 36
the location was a baroque hunting lodge at the Moritzburg Ponds a few miles from Dresden
1905 - 1915

“Max opened his mouth, closed it, opened it again. “No.”
“Speak louder. You used a word I don’t understand.””

Robert A. Heinlein book Starman Jones

Source: Starman Jones (1953), Chapter 9, “Chartman Jones” (p. 95)

Understanding

“Leo Bloom: Actors are not animals! They're human beings!
Max Bialystock: They are? Have you ever eaten with one?”

Mel Brooks (1926) American director, writer, actor, and producer

The Producers

Animals

“A picture that I painted after the defeat of the Republicans in Spain [in 1936, Max Ernst was a resolute opponent of the Spanish dictator General Franco, who was supported by Germany's Nazi regime] is 'The Fireside Angel'. This is, of course, an ironic title for a rampaging beast that destroys and annihilates anything that gets in its way. This was my idea at the time of what would probably happen in the world, and I was right.”

Max Ernst (1891–1976) German painter, sculptor and graphic artist

Quote in 'Room 10, Max Ernst', the exhibition text of FONDATION BEYELER 2 - MAX ERNST, 2013, texts: Raphaël Bouvier & Ioana Jimborean; ed. Valentina Locatelli; transl. Karen Williams
Max Ernst is referring to his painting 'L'ange du foyer' / 'Le triomphe du surréalisme', 1937 ('The Fireside Angel' / The Triumph of Surrealism'); the alternative title was offered by Ernst himself in 1938, when he spontaneously opted for a different title: 'The Triumph of Surrealism'.
1936 - 1950

World, Angels, Way, Idea

“First contact with occult, magical and enchanting forces. One of his best friends, a very intelligent and affectionate pink cockatoo, died in the night of 5 January. It was a terrible shock for Max when he found the dead bird in the morning, at the same moment as his father told him of the birth of his sister, Loni. The boy's consternation was so great that he fainted. In his imagination, he linked the two events and made the baby responsible for extinguishing the bird's life. A series of psychological crises and depressions followed. A dangerous amalgamation of birds and human beings became firmly established in his mind and later found expression in his paintings and drawings.”

Max Ernst (1891–1976) German painter, sculptor and graphic artist

Quote in 'Tissue of Truth, Tissue of Lies', Max Ernst; as cited in 'Room 7, Max Ernst', the exhibition text of FONDATION BEYELER 2 - MAX ERNST, 2013, texts: Raphaël Bouvier & Ioana Jimborean; ed. Valentina Locatelli; transl. Karen Williams
Max Ernst is referring to a childhood experience in 1906, when Max Ernst was c. 15 years old
posthumous

Life, Imagination, Intelligence, Boy

“All my life, it seems, I have hated the guts of Max Lerner. Now, make no mistake: there is nothing personal in this rancor. I have never met, nor have I ever had any personal dealings with, Max. No, my absolute loathing for Max Lerner is disinterested, cosmic in its grandeur. It's just that ever since I was a toddler, this ugly homunculus, this pretentious jackass, has been there, towering over the American ideological scene. In the fifty-five years that I have been aware of Max's presence, in all of his many permutations and combinations and seeming twists and turns, he has taken the totally repellent position at every step of the way.”

Murray N. Rothbard (1926–1995) American economist of the Austrian School, libertarian political theorist, and historian

"I Hate Max Lerner" (2005) http://www.lewrockwell.com/rothbard/rothbard68.html.

Life, Hate, Way, Personality

“Soon censorship will become a luxury of the past. When I recently spoke to an okie connected with the censor board about why 'Mad Max' wasn't banned, his reply was that the youth of today must get used to violence as that will soon be their way of life! It's a sobering thought.”

Pieter-Dirk Uys (1945) South African comedian

Sunday Times interview (1980)

Life, Youth, Way, Past

“Any property that's open to common use gets destroyed. Because everyone has incentive to use it to the max, but no one has incentive to maintain it.”

Neal Stephenson book Zodiac

Source: Zodiac (1988), Chapter 8

“Mixed feelings when he [Max Ernst frequently writes about himself in the third person] enters the forest for the first time: delight and oppression. And what the Romantics spoke of as 'being at one with Nature'. Wonderful joy in breathing freely in an open space, but also anxiety at being encircled by hostile trees. Outside and inside at the same time, free and trapped.”

Max Ernst (1891–1976) German painter, sculptor and graphic artist

Quote in 'Room 6, Max Ernst', the exhibition text of FONDATION BEYELER 2 - MAX ERNST, 2013, texts: Raphaël Bouvier & Ioana Jimborean; ed. Valentina Locatelli; transl. Karen Williams
Max Ernst is describing an early childhood experience, in the third person
posthumous

Hostility, Feeling, Nature, Tree

“Bramah's books fall into two very unequal categories. Some, fortunately the smaller part, record the adventures of the blind detective, Max Carrados. These are competent, mediocre books. The rest are parodic in nature: they pass themselves off as translations from the Chinese, and their boundless perfection achieved the unconditional praise of Hilaire Belloc in 1922. Their names: The Wallet of Kai Lung (1900), Kai Lung's Golden Hours (1922), Kai Lung Unrolls His Mat (1928), The Mirror of Kong Ho (1931), The Moon of Much Gladness”

Ernest Bramah (1868–1942) English author

1936
Jorge Luis Borges, "The Total Library"
Criticism

Books, Nature, Parting, Perfection

“Hayek sees that the zero-sum vision is fired by an implacable negative energy. It is not the concrete vision of some real alternative that animates the socialist critic of the capitalist order. It is hostility toward the actual, and in particular toward those who enjoy advantages within it. Hence the belief in equality remains vague and undefined, except negatively. For it is essentially a weapon against the existing order – a way of undermining its claims to legitimacy, by discovering a victim for every form of success. The striving for equality is, in other words, based in ressentiment in Nietzsche’s sense, the state of mind that Max Scheler identified as the principal motive behind the socialist orthodoxy of his day. It is one of the major problems of modern politics, which no classical liberal could possibly solve, how to govern a society in which resentment has acquired the kind of privileged social, intellectual, and political position that we witness today.”

Roger Scruton (1944–2020) English philosopher

"Hayek and conservatism", in Edward Feser (ed.), The Cambridge Companion to Hayek (2006)

Hostility, Way, Motivation, Problem

“.. more significant, perhaps, was the fact that during the war [1940-1945] many of the Surrealists came [from Europe] to America and we were able to see them as just other human beings like ourselves and not as mythical characters who had superhuman capacities and talents. I think that there was a feeling after meeting them [a. o. Marcel Duchamp, Andre Masson, André Breton, Max Ernst ] personally that, well, if these men can have these great achievements and talents, there is hope for us [younger American artists]”

Adolph Gottlieb (1903–1974) American artist

Quote of Gottlieb, in an interview (March 1960) with David Sylvester, edited for broadcasting by the BBC first published in 'Living Arts', June 1963; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 29
1960s

Men, War, Hope, Feeling

“Organizational theories have three origins: Max Weber’s original work on bureaucracies which came to define the theory for sociologists, a line of theory based in business schools that had as its focus, the improvement of management control over the work process, and the industrial organization literature in economics. Unlike many fields in sociology, organizational theory has been a multidisciplinary affair since World War II, and it is difficult to understand its central debates without considering its linkages to business schools and economics departments.”

Neil Fligstein (1951) American sociologist

Source: Organizations: Theoretical Debates and the Scope of Organizational Theory, 2001, p. 1

War, World, School, Literature

“Most of the fascist functionaries live as unguarded as I do. I could slip a knife between Max Rafferty's ribs. The Agnews and Du Ponts, the Rockefellers and Morgans, all of the Getty, Hunt, and Hughes types who sneak around in armored cars and jets are just as reachable. Anyone who will come out of his bomb shelter can be had. Imagine what Nixon's armored car would look like if I stepped out of the alley and hit it with the anti-tank rocket launcher under my coat—a ball of fire. Hell will be their reward.”

Jonathan P. Jackson (1953–1970) American kidnapper

Source: From Blood in My Eye (1971), p. 46

Cars, Imagination, Hell

“Then the works of Max Weber, first translated from the German in the 1940s — he wrote around 1910, incredibly — began to find their way into social science thought. At first, with his celebration of the efficiency of bureaucracy, he was received with only reluctant respect, and even with hostility. All writers were against bureaucracy. But it turned out, surprisingly, that managers were not. When asked, they acknowledged that they preferred clear lines of communication, clear specifications of authority and responsibility, and clear knowledge of whom they were responsible to. They were as wont to say "there ought to be a rule about this," as to say "there are too many rules around here," as wont to say "next week we've got to get organized," as to say "there is too much red tape." Gradually, studies began to show that bureaucratic organizations could change faster than non-bureaucratic ones, and that morale could be higher where there was clear evidence of bureaucracy.”

Charles Perrow (1925–2019) American sociologist

Source: 1970s, "The short and glorious history of organizational theory", 1973, p. 6