Quotes about scene

A collection of quotes on the topic of scene, likeness, doing, time.

Quotes about scene

“Love is heavy and light, bright and dark, hot and cold, sick and healthy, asleep and awake- its everything except what it is! (Act 1, scene 1)”

William Shakespeare book Romeo and Juliet

Source: Romeo and Juliet

Love, Light

“Man is the only real enemy we have. Remove Man from the scene, and the root cause of hunger and overwork is abolished forever.”

George Orwell book Animal Farm

Source: Animal Farm

Hunger

“You almost create this infinite universe for the character that you’re playing and then you’re compromising it into the story that you’re doing. Whatever character you’re playing, you kind of explore endlessly more than what’s on the page. You use that exploration to do the performance that’s in the film, but hopefully, people will see all that work and preparation in those little glimpses of scenes and moments. Oh, there’s something there. There’s so much more happening with this character.”

Bill Skarsgård (1990) Swedish actor

Bill Skarsgard on ‘IT’ and Tapping into His Fears to Create a Terrifying New Pennywise http://collider.com/bill-skarsgard-pennywise-it-movie-interview/#images (July 28, 2017)

People, Universe

“Martin: It’s alright. It’s fun, and all the spray’s behind you until you’re behind another car. It’s aquaplaning that scares the life out of you, when the car gets up on top of the water and you’re temporarily not in contact with the ground and you can head straight to the scene of the accident with the silliest little move of the steering wheel.”

Martin Brundle (1959) British racecar driver

Formula 1 Australia 2002

Life, Cars, Water

“Cause the registration of firearms so that you can eventually confiscate them. Gun control, Communist idea. Lenin said, "One person with a gun can control a hundred people without one." Imagine this scene. You're standing in a bank trying to cash a check. Somebody runs in there, pulls out a gun, and says, "Everybody lay on the floor!" So everybody lies on the floor. Now imagine this scene. Every citizen is armed. The guy runs in the bank, "Lay on the floor!" Everybody else pulls out their guns. You lay on the floor while they all stomp on your head. Every dictator throughout history has wanted gun control. It's just a normal thing. You have to control the guns. Every dictator has wanted that. Gun control isn't about guns, it's about control. Somebody sent me this button as a joke, "Proudly Unarmed". Would you wear this? What does this say to a criminal? "Rob me!"”

Kent Hovind (1953) American young Earth creationist

Isn't that what it says?
Creation seminars (2003-2005), The dangers of evolution

People, Guy, Imagination, History

“J. M. W. Turner's Poem dedicated to Ivan Aivazovsky (1842)

Like a curtain slowly drawn
It stops suddenly half open,
Or, like grief itself, filled with gentle hope,
It becomes lighter in the shore-less dark,
Thus the moon barely wanes
Winding her way above the storm-tossed sea.
Stand upon this hill and behold endlessly
This scene of a formidable sea,
And it will seem to thee a waking dream.
That secret mind flowing in thee
Which even the day cannot scatter,
The serenity of thinking and the beating of the heart
Will enchain thee in this vision;
This golden-silver moon
Standing lonely over the sea,
All curtain the grief of even the hopeless.
And it appears that through the tempest
Moves a light caressing wind,
While the sea swells up with a roar,
Sometimes, like a battlefield it looks to me
The tempestuous sea,
Where the moon itself is a brilliant golden crown
Of a great king.
But even that moon is always beneath thee
Oh Master most high,
Oh forgive thou me
If even this master was frightened for a moment
Oh, noble moment, by art betrayed…
And how may one not delight in thee,
Oh thou young boy, but forgive thou me,
If I shall bend my white head
Before thy art divine
Thy bliss-wrought genius…”

J.M.W. Turner (1775–1851) British Romantic landscape painter, water-colourist, and printmaker

Source: J.M.W. Turner

Secret, Dreams, Hope, Art

“Well you burst on the scene
Already a legend
The unwashed phenomenon
The original vagabond
You strayed into my arms
And there you stayed
Temporarily lost at sea
The Madonna was yours for free
Yes the girl on the half-shell
Would keep you unharmed”

Joan Baez (1941) American singer

Diamonds & Rust
Diamonds & Rust (1975)

Girl, Sea

“We weren't really interested in those bands; we were—because we came out of this subterranean scene. And then Nirvana breaks big, and it's just diametrically opposite: we have, like, facial hair, and just, kind of, logger shirts, but we're all, like, "sensitive" and "feminine"—you know what I mean?”

Krist Novoselic (1965) Croatian-American rock musician

36:00–36:19, about mainstream rockers of the 1980s <br class="br"> "Nirvana's Krist Novoselic on Punk, Politics, & Why He Dumped the Dems" https://www.youtube.com/watch?v=k4TPRH2uK9w

“I just can’t believe anyone would start a band just to make the scene and be cool and have chicks. I just can’t believe it.”

Kurt Cobain (1967–1994) American musician and artist

As quoted in Option (1992-01-02).
Interviews (1989-1994), Print

“There is no doubt a difference in the right hon. gentleman's demeanour as leader of the Opposition and as Minister of the Crown. But that's the old story; you must not contrast too strongly the hours of courtship with the years of possession. 'Tis very true that the right hon. gentleman's conduct is different. I remember him making his protection speeches. They were the best speeches I ever heard. It was a great thing to hear the right hon. gentleman say: "I would rather be the leader of the gentlemen of England than possess the confidence of Sovereigns". That was a grand thing. We don't hear much of "the gentlemen of England" now. But what of that? They have the pleasures of memory—the charms of reminiscence. They were his first love, and, though he may not kneel to them now as in the hour of passion, still they can recall the past; and nothing is more useless or unwise than these scenes of crimination and reproach, for we know that in all these cases, when the beloved object has ceased to charm, it is in vain to appeal to the feelings. You know that this is true. Every man almost has gone through it. My hon. gentleman does what he can to keep them quiet; he sometimes takes refuge in arrogant silence, and sometimes he treats them with haughty frigidity; and if they knew anything of human nature they would take the hint and shut their mouths. But they won't. And what then happens? What happens under all such circumstances? The right hon. gentleman, being compelled to interfere, sends down his valet, who says in the genteelest manner: "We can have no whining here". And that, sir, is exactly the case of the great agricultural interest—that beauty which everybody wooed and one deluded. There is a fatality in such charms, and we now seem to approach the catastrophe of her career. Protection appears to be in about the same condition that Protestantism was in 1828. The country will draw its moral. For my part, if we are to have free trade, I, who honour genius, prefer that such measures should be proposed by the hon. member for Stockport than by one who through skilful Parliamentary manoeuvres has tampered with the generous confidence of a great people and a great party. For myself, I care not what may be the result. Dissolve, if you please, the Parliament you have betrayed. For me there remains this at least—the opportunity of expressing thus publicly my belief that a Conservative Government is an organised hypocrisy.”

Benjamin Disraeli (1804–1881) British Conservative politician, writer, aristocrat and Prime Minister

Speech http://hansard.millbanksystems.com/commons/1845/mar/17/agricultural-interest in the House of Commons (17 March 1845). <br class="br">1840s

Love, People, Pleasure, Beauty

“…this guy is responsible for twenty or thirty more deaths at least, and there's a certain aspect of possessiveness in that. I think that's one way of describing it in rather bland terms, a possessiveness where the corpse could easily be as important as the live victim, in some respects. I mean, it's that physical possession and ownership, a taking, if you will, that is just part of the syndrome. I think that sense of power and ownership is one of the reasons why I think in some cases—not all, certainly—is why I think he might be individually intending to return to the scene to either view his victim, or in fact, interact with the body in some way.”

Ted Bundy (1946–1989) American serial killer

1984 interview with Detective Robert Keppel (regarding the Green River Killer)

Death, Way, Guy, Thinking

“She was more like a beauty queen from a movie scene,
I said, 'Don't mind, but what do you mean I am the one,
Who will dance, on the floor, in the round?”

Michael Jackson (1958–2009) American singer, songwriter and dancer

Thriller (1982)

Beauty, Dance

“While the others had got married and moved out to suburbia, I had stayed in London and got into the arts scene through friends like Robert Fraser and Barry Miles and papers like The International Times. We opened the Indica gallery with John Dunbar, Peter Asher and people like that. I heard about people like John Cage, and that he’d just performed a piece of music called 4’33” (which is completely silent) during which if someone in the audience coughed he would say, ‘See?’ Or someone would boo and he’d say, ‘See? It’s not silence—it’s music.’ I was intrigued by all of that. So these things started to be part of my life. I was listening to Stockhausen; one piece was all little plink-plonks and interesting ideas. Perhaps our audience wouldn’t mind a bit of change, we thought, and anyway, tough if they do! We only ever followed our own noses—most of the time, anyway. ‘Tomorrow Never Knows’ was one example of developing an idea.”

Paul McCartney (1942) English singer-songwriter and composer

The Beatles Anthology (2000), p. 212

Life, People, Art, Music

“I would hate to be accused of having got through life just by luck - I think you do create your own destiny. My mum and Dad believe in fate. I see coincidences but not a predestined pattern. If it's just about fate, then you become complacent and expect things to come your way. I like being challenged. Even when you're doing really intense, dramatic scenes that take so much out of you it's still really fun and energizing. Acting makes you feel so alive.”

Daniel Radcliffe (1989) English actor

The Guardian - October 11, 2006 http://www.danradcliffe.com/index.php?option=com_content&view=article&id=23&Itemid=28

Life, Hate, Fate, Way

“I was a mere tourist with no part whatever in this great conflict; but it was my rare privilege, through an unusual train of circumstances, to witness the moving scenes that I have resolved to describe. In these pages I give only my personal impressions; so my readers should not look here for specific details, nor for information on strategic matters; these things have their place in other writings.”

Henry Dunant book A Memory of Solferino

Source: A Memory of Solferino (1862), p. 16; As quoted in The Independent, Friday, 22 February 2002 http://www.independent.co.uk/news/world/americas/change-obsolete-rules-of-warfare-says-bush-envoy-661637.html

Parting, Personality, Training

“Dear God, these are anxious times. Tonight for the first time I lay in the dark with burning eyes as scene after scene of human suffering passed before me. I shall promise You one thing, God, just one very small thing: I shall never burden my today with cares about my tomorrow, although that takes some practice. Each day is sufficient unto itself. I shall try to help You, God, to stop my strength ebbing away, though I cannot vouch for it in advance. But one thing is becoming increasingly clear to me: that You cannot help us, that we must help You to help ourselves. And that is all we can manage these days and also all that really matters: that we safeguard that little piece of You, God, in ourselves. And perhaps in others as well. Alas, there doesn't seem to be much You Yourself can do about our circumstances, about our lives. Neither do I hold You responsible. You cannot help us, but we must help You and defend Your dwelling place inside us to the last.”

Etty Hillesum (1914–1943) Jewish diarist

12 July 1942, p. 488-89
Etty: The Letters and Diaries of Etty Hillesum, 1941-1943

God, Suffering, Time, Help

“Pretty soon I believe people will have to rely on music to get some kind of peace of mind, or satisfaction, or direction, actually. More so than politics, the big ego scene. You know it's an art of words… Meaning nothing.”

Jimi Hendrix (1942–1970) American musician, singer and songwriter

When asked if music has a meaning
Dick Cavett interview (1969)
Context: Definitely, and it's getting more spiritual. Pretty soon I believe people will have to rely on music to get some kind of peace of mind, or satisfaction, or direction, actually. More so than politics, the big ego scene. You know it's an art of words... Meaning nothing. Therefore you will have to get an earthier substance, like music or the arts.

People, Peace, Art, Music

“The life of this people greatly accords with my taste, which is naturally somewhat indolent and melancholy... To repose on voluptuous ottomans and smoke superb pipes, daily to indulge in the luxuries of a bath which requires half a dozen attendants for its perfection; to court the air in a carved caïque, by shores which are a perpetual scene; and to find no exertion greater than a canter on a barb; this is, I think, a far more sensible life than all the bustle of clubs, all the boring of drawing-rooms, and all the coarse vulgarity of our political controversies.”

Benjamin Disraeli (1804–1881) British Conservative politician, writer, aristocrat and Prime Minister

Source: Letter to Edward Lytton Bulwer from Constantinople, Turkey (27 December 1830), quoted in William Flavelle Monypenny and George Earle Buckle, The Life of Benjamin Disraeli, Earl of Beaconsfield. Volume I. 1804–1859 (1929), p. 174

Life, People, Nature, Thinking

“O God, that men should put an enemy in their mouths to steal away their brains!" - Cassio (Act II, Scene iii)”

William Shakespeare Othello

Source: Othello

Men, God

“Of all the wonders that I have heard,
It seems to me most strange that men should fear;
Seeing death, a necessary end,
Will come when it will come.
(Act II, Scene 2)”

William Shakespeare Julius Caesar

Source: Julius Caesar

Death, Men, Fear

“So cute how you called out for Damen after conjuring that chaste little love scene in your head.”

Alyson Nöel book Evermore

Source: Evermore

Love

“There's an old saying that applies to me: you can't lose a game if you don't play the game. (Act 1, scene 4)”

William Shakespeare book Romeo and Juliet

Source: Romeo and Juliet

Game

“Let us draw the curtain of charity over the rest of this scene”

Mark Twain book The Adventures of Tom Sawyer

Source: The Adventures of Tom Sawyer

Drawing

“If you prick us, do we not bleed? if you tickle us, do we not laugh? if you poison us, do we not die? and if you wrong us, shall we not revenge?". - (Act III, scene I).”

William Shakespeare The Merchant of Venice

Shylock, Act III, scene i.
Source: The Merchant of Venice (1596–7)
Context: I am a Jew. Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses, affections, passions; fed with the same food, hurt with the same weapons, subject to the same diseases, heal'd by the same means, warm'd and cool'd by the same winter and summer, as a Christian is? If you prick us, do we not bleed? If you tickle us, do we not laugh? If you poison us, do we not die? And if you wrong us, shall we not revenge?

Revenge

“Thou seest we are not all alone unhappy:
This wide and universal theatre
Presents more woeful pageants than the scene
Wherein we play in.”

William Shakespeare As You Like It

Source: As You Like It

Universe

“She had no tolerance for scenes which were not of her own making.”

Edith Wharton book The House of Mirth

Source: The House of Mirth

“The scene is memory and is therefore nonrealistic. Memory takes a lot of poetic license. It omits some details; others are exaggerated, according to the emotional value of the articles it touches, for memory is seated predominantly in the heart.”

Tennessee Williams The Glass Menagerie

Variant: Memory takes a lot of poetic licence. It omits some details; others are exaggerated, according to the emotional value of the articles it touches, for memory is seated predominantly in the heart. The interior is therefore rather dim and poetic.
Source: The Glass Menagerie

Memory, Heart

“Come unto these yellow sands,
And then take hands.
Curtsied when you have and kissed
The wild waves whist,
Foot is featly here and there;
And, sweet sprites, the burden bear.

Ariel's song, scene II, Act I”

William Shakespeare The Tempest

Source: The Tempest

Kiss

“Hang there like a fruit, my soul, Till the tree die!

-Posthumus Leonatus
Act V, Scene V”

William Shakespeare Cymbeline

Source: Cymbeline

Soul, Tree

“I know I fib a good deal. After all, a woman's charm is fifty per cent illusion, but when a thing is important I tell the truth.
- Blanche Scene II”

Tennessee Williams A Streetcar Named Desire

Source: A Streetcar Named Desire

Truth

“Light died in the west. Night and tears took the Nation. The star of Water drifted among the clouds like a murderer softly leaving the scene of the crime.”

Terry Pratchett book Nation

Source: Nation

Star, Tear, Light, Water

“I'm not against sentimentality. I think you need it. I mean, I don't think you get a true picture of people without it in writing… It's a kind of poetry, it's an emotional poetry, and, to bring it back to the literary scene, I don't think anything is true that doesn't have it, that doesn't have poetry in it.”

Nelson Algren (1909–1981) American novelist, short story writer

People, Thinking

“Jack Reacher ordered espresso, double, no peel, no cube, foam cup, no china, and before it arrived at his table he saw a man's life change forever. Not that the waiter was slow. Just that the move was slick. So slick, Reacher had no idea what he was watching. It was just an urban scene, repeated everywhere in the world a billion times a day: A guy unlocked a car and got in and drove away. That was all. But that was enough.”

Lee Child book The Hard Way

The Hard Way, Ch. 1 (2006).

Life, World, Cars, Guy

“He reminds me of that excitement when De Niro and I stumbled upon a way of working together - a similar kind of energy to the actors in the 1970s. It’s very rare for me to find that kind of connection again. Leo will give me the emotion where I least expect it and could only hope for it about three or four scenes. And he can do it take after take.”

Leonardo DiCaprio (1974) American actor and film producer

Martin Scorsese http://www.flixster.com/actor/leonardo-di-caprio/leonardo-dicaprio-quotes <br class="br">About

Hope, Way

“Defeated, I followed my impulse casually. I followed a woman who had been watching me from her corner. Then we walked side by side. We said a few words; she took me home with her. Then I went through the banal scene. It passed like a sudden hurtling–down. Again, I am on the pavement and I am not at peace as I had hoped. An immense confusion bewilders me. It is as if I could not see things as they were. I see too deep and too much.”

Henri Barbusse (1873–1935) French novelist

As translated by John Rodker
The Inferno (1917)

Peace, Hope, Home

“I’d like to believe that in the two weeks that I was inside, I conducted myself with dignity. And I wouldn’t be remembered as a contestant who created a scene for TRPs.”

Sukirti Kandpal (1987) Indian actress

On her Bigg Boss-8 stint http://gulfnews.com/life-style/celebrity/desi-news/bollywood/after-bigg-boss-8-sukirti-kandpal-looks-for-work-1.1395192/

“The scene I had just witnessed brought back a lot of memories — not of things I have done but of things I have failed to do, wasted hours and frustrated moments and opportunities forever lost because time had eaten so much of my life and I would never get it back.”

Hunter S. Thompson (1937–2005) American journalist and author

1990s, The Rum Diary (1998)

Life, Memory, Time

“If I had written King Lear, I would regret it all my life afterwards. Because that work is so big, that its defects show as huge, its monstrous defects, things even minimal in between some scenes and their possible perfection. It's not the sun with spots; it's a broken greek statue.”

Fernando Pessoa book The Book of Disquiet

Ibid., p. 250
The Book of Disquiet
Original: Se eu tivesse escrito o Rei Lear, levaria com remorsos toda a minha vida de depois. Porque essa obra é tão grande, que enormes avultam os seus defeitos, os seus monstruosos defeitos, as coisas até mínimas que estão entre certas cenas e a perfeição possível delas. Não é o sol com manchas; é uma estátua grega partida.

Life, Sun, Perfection

“Here everything is dark. A series of storms has destroyed all our hopes which were full of promise. A plentiful hay harvest drowned and the finest wheat the farmers have had for years all laid. It is a scene of ravage, of havoc like a conquered country. It is the last drop in the bitter cup which the landed interest will have to swallow. … As for politics, Gladstone will be as fatal to the aristocracy as the weather; and if he were younger the Crown would not be safe.”

Benjamin Disraeli (1804–1881) British Conservative politician, writer, aristocrat and Prime Minister

Source: Letter to Lady Chesterfield (19 July 1880), quoted in the Marquis of Zetland (ed.), The Letters of Disraeli to Lady Bradford and Lady Chesterfield. Vol. II, 1876 to 1881 (London: Ernest Benn Limited, 1929), p. 282.

Hope, Weather, Country

“On a fair prospect some have looked,
And felt, as I have heard them say,
As if the moving time had been
A thing as steadfast as the scene
On which they gazed themselves away.”

William Wordsworth Peter Bell

Part I, stanza 16.
Peter Bell (1798)

Time

“So you see, my dear Coningsby, that the world is governed by very different personages from what is imagined by those who are not behind the scenes.”

Benjamin Disraeli (1804–1881) British Conservative politician, writer, aristocrat and Prime Minister

Sidonia speaking
Book 4, Chap. 15.
Books, Coningsby (1844)

World, Imagination

“I do differ from you radically in respect to familiar things & scenes; for I always demand close correlation with the landscape & historic stream to which I belong, & would feel completely lost in infinity without a system of reference-points based on known & accustomed objects. I take complete relativity so much for granted, that I cannot conceive of anything as existing in itself in any recognisable form. What gives things an aspect & quasi-significance to us is the fact that we view things consistently from a certain artificial & fortuitous angle. Without the preservation of that angle, coherent consciousness & entity itself becomes inconceivable. Thus my wish for freedom is not so much a wish to put all terrestrial things behind me & plunge forever into abysses beyond light, matter, & energy. That, indeed, would mean annihilation as a personality rather than liberation. My wish is perhaps best defined as a wish for infinite visioning & voyaging power, yet without loss of the familiar background which gives all things significance. I want to know what stretches Outside, & be able to visit all the gulfs & dimensions beyond Space & Time. I want, too, to juggle the calendar at will; bringing things from the immemorial past down into the present, & making long journeys into the forgotten years. But I want the familiar Old Providence of my childhood as a perpetual base for these necromancies & excursions—& in a good part of these necromancies & excursions I want certain transmuted features of Old Providence to form part of the alien voids I visit or conjure up. I am as geographic-minded as a cat—places are everything to me. Long observation has shewn me that no other objective experience can give me even a quarter of the kick I can extract from the sight of a fresh landscape or urban vista whose antiquity & historic linkages are such as to correspond with certain fixed childhood dream-patterns of mine. Of course my twilight cosmos of half-familiar, fleetingly remembered marvels is just as unattainable as your Ultimate Abysses—this being the real secret of its fascination. Nothing really known can continue to be acutely fascinating—the charm of many familiar things being mainly resident in their power to symbolise or suggest unknown extensions & overtones.”

H.P. Lovecraft (1890–1937) American author

Letter to Clark Ashton Smith (7 November 1930), in Selected Letters III, 1929-1931 edited by August Derleth and Donald Wandrei, p. 214
Non-Fiction, Letters

Secret, Dreams, Feeling, Cats

“I can say with truth that I have never, even in times of greatest preoccupation with carnal, worldly and egotistic pursuits, seriously doubted that our existence here is related in some mysterious way to a more comprehensive and lasting existence elsewhere; that somehow or other we belong to a larger scene than our earthly life provides, and to a wider reach of time than our earthly allotment of three score years and ten…It has never been possible for me to persuade myself that the universe could have been created, and we, homo sapiens, so-called, have, generation after generation, somehow made our appearance to sojourn briefly on our tiny earth, solely in order to mount the interminable soap opera, with the same characters and situations endlessly recurring, that we call history. It would be like building a great stadium for a display of tiddly-winks, or a vast opera house for a mouth-organ recital. There must, in other words, be another reason for our existence and that of the universe than just getting through the days of our life as best we may; some other destiny than merely using up such physical, intellectual and spiritual creativity as has been vouchsafed us. This, anyway, has been the strongly held conviction of the greatest artists, saints, philosophers and, until quite recent times, scientists, through the Christian centuries, who have all assumed that the New Testament promise of eternal life is valid, and that the great drama of the Incarnation which embodies it, is indeed the master drama of our existence. To suppose that these distinguished believers were all credulous fools whose folly and credulity in holding such beliefs has now been finally exposed, would seem to me to be untenable; and anyway I'd rather be wrong with Dante and Shakespeare and Milton, with Augustine of Hippo and Francis of Assisi, with Dr. Johnson, Blake and Dostoevsky, than right with Voltaire, Rousseau, Darwin, the Huxleys, Herbert Spencer, H. G. Wells and Bernard Shaw.”

Malcolm Muggeridge (1903–1990) English journalist, author, media personality, and satirist

Confessions of a Twentieth-Century Pilgrim (1988)

Life, Truth, Fools, Way

“I mean the powerful influence which the interesting scenes of the Revolution had upon the passions of the people as distinguished from their judgment. By this influence, the jealousy, envy, and avarice incident to our nature and so common to a state of peace, prosperity, and conscious strength, were for the time in a great measure smothered and rendered inactive, while the deep-rooted principles of hate, and the powerful motive of revenge, instead of being turned against each other, were directed exclusively against the British nation. And thus, from the force of circumstances, the basest principles of our nature, were either made to lie dormant, or to become the active agents in the advancement of the noblest cause — that of establishing and maintaining civil and religious liberty. But this state of feeling must fade, is fading, has faded, with the circumstances that produced it. I do not mean to say that the scenes of the Revolution are now or ever will be entirely forgotten, but that, like everything else, they must fade upon the memory of the world, and grow more and more dim by the lapse of time. In history, we hope, they will be read of, and recounted, so long as the Bible shall be read; but even granting that they will, their influence cannot be what it heretofore has been. Even then they cannot be so universally known nor so vividly felt as they were by the generation just gone to rest. At the close of that struggle, nearly every adult male had been a participator in some of its scenes. The consequence was that of those scenes, in the form of a husband, a father, a son, or a brother, a living history was to be found in every family — a history bearing the indubitable testimonies of its own authenticity, in the limbs mangled, in the scars of wounds received, in the midst of the very scenes related — a history, too, that could be read and understood alike by all, the wise and the ignorant, the learned and the unlearned. But those histories are gone. They can be read no more forever. They were a fortress of strength; but what invading foeman could never do, the silent artillery of time has done — the leveling of its walls. They are gone. They were a forest of giant oaks; but the all-restless hurricane has swept over them, and left only here and there a lonely trunk, despoiled of its verdure, shorn of its foliage, unshading and unshaded, to murmur in a few more gentle breezes, and to combat with its mutilated limbs a few more ruder storms, then to sink and be no more. They were pillars of the temple of liberty; and now that they have crumbled away that temple must fall unless we, their descendants, supply their places with other pillars, hewn from the solid quarry of sober reason.”

Abraham Lincoln (1809–1865) 16th President of the United States

1830s, The Lyceum Address (1838)

Hate, People, Lie, World

“What can you do? More and more Americans are carrying a gun in the car. An ex-cop I know advises that if you have to use a gun on a youth, you should leave the scene immediately, disposing of the wiped off gun as soon as possible. Such a gun cannot, of course, be registered to you, but one bought privately (through the classifieds, for example.)
I frankly don't know what to make of such advice, but even in my little town of Jackson, Texas, I've urged everyone in my family to know how to use a gun in self-defense. For the animals are coming.”

Ron Paul (1935) American politician and physician

1992
October
Blast 'Em?
Ron Paul Political Report
2
http://www.tnr.com/sites/default/files/PR_Oct92_p2.pdf
Disputed, Newsletters, Ron Paul Political Report

Youth, Family, Cars, Animals

“It is a fact that Mussolini entered the scene of world politics as an ally of the democracies, while Lenin entered it as a virtual ally of imperial Germany.”

Ludwig von Mises book Socialism

Socialism (1922), Epilogue (1947)

World, Democracy

“good art means the ability of any one man to pin down in some permanent and intelligible medium a sort of idea of what he sees in Nature that nobody else sees. In other words, to make the other fellow grasp, through skilled selective care in interpretative reproduction or symbolism, some inkling of what only the artist himself could possibly see in the actual objective scene itself.”

H.P. Lovecraft (1890–1937) American author

Letter to Woodburn Harris (25 February-1 March 1929), quoted in "H.P. Lovecraft, a Life" by S.T. Joshi, p. 487
Non-Fiction, Letters

Art, Intelligence, Idea, Nature

“If people take any notice of what we say, we say we've been through the drug scene, man, and there's nothing like being straight.”

John Lennon (1940–1980) English singer and songwriter

The Dick Cavett Show (24 September 1971)

People

“We have that Indian scene. We can get the Indians from the reservoir.”

Samuel Goldwyn (1879–1974) American film producer (1879-1974).

Alternately reported as "We can get all the Indians we need at the reservoir", in Paul F. Boller, John George, They Never Said It (1990), p. 40.
Misattributed

“One can't write a weird story of real power without perfect psychological detachment from the human scene, and a magic prism of imagination which suffuses them and style alike with that grotesquerie and disquieting distortion characteristic of morbid vision. Only a cynic can create horror—for behind every masterpiece of the sort must reside a driving daemonic force that despises the human race and its illusions, and longs to pull them to pieces and mock them.”

H.P. Lovecraft (1890–1937) American author

Letter to Weird Tales editor Edwin Baird printed in Weird Tales 3, no. 3 (March 1924), pp. 89-92. Quoted in Lord of a Visible World: An Autobiography in Letters edited by S. T. Joshi, p. 122
Non-Fiction, Letters

Imagination, Perfection

“Lead, Kindly Light, amid the encircling gloom,
Lead Thou me on!
The night is dark, and I am far from home—
Lead Thou me on!
Keep Thou my feet: I do not ask to see
The distant scene,—one step enough for me.”

John Henry Newman (1801–1890) English cleric and cardinal

The Pillar of the Cloud http://www.bartleby.com/236/75.html, st. 1 (1833).

Home, Light, Distant, Night

“O scenes of the beautiful world! Never have you presented yourself to more appreciative eyes.”

Thomas Mann book Confessions of Felix Krull

Bk. 2, Ch. 4
Confessions of Felix Krull, Confidence Man (1954)

World, Beauty

“Tocqueville predicted that in democratic countries the public would demand larger and larger doses of excitement and increasingly stronger stimulants from its writers. He probably did not expect that public to dramatize itself so extensively, to make the world scene everybody's theatre, or, in the developed countries, to take to alcohol and drugs in order to get relief from the horrors of ceaseless intensity, the torment of thrills and distractions. A great many writers have done little more than meet the mounting demand for thrills. I think that this demand has, in the language of marketing, peaked.”

Saul Bellow (1915–2005) Canadian-born American writer

"The Distracted Public" (1990)
It All Adds Up (1994)

Alcohol, World, Thinking, Country

“Women had to work like slaves in the art world, but a lot of men got to the top through their charm. And it hurt them. To be young and pretty didn't help a woman in the art world, because the social scene, and the buying scene, was in the hands of women – women who had money. They wanted male artists who would come alone and be their charming guests. Rothko could be very charming. It was a court. And the artist buffoons came to the court to entertain, to charm. Now it has changed, now the younger men are in – older women and younger men.”

Louise Bourgeois (1911–2010) American and French sculptor

Louise Bourgeois, ‎Donald Burton Kuspit (1988). Bourgeois. p. 76: On the art world

Women, Men, Money, World

“Everything I loved had been dead for two centuries—or, as in the case of Graeco-Roman classicism, for two milenniums. I am never a part of anything around me—in everything I am an outsider. Should I find it possible to crawl backward through the Halls of Time to that age which is nearest my own fancy, I should doubtless be bawled out of the coffee-houses for heresy in religion, or else lampooned by John Dennis till I found refuge in the deep, silent Thames, that covers many another unfortunate. Yes, I seem to be a decided pessimist!—But pray do not think, gentlemen, that I am utterly forlorn and misanthropick creature. … Despite my solitary life, I have found infinite joy in books and writing, and am by far too much interested in the affairs of the world to quit the scene before Nature shall claim me. Though not a participant in the Business of life; I am, like the character of Addison and Steele, an impartial (or more or less impartial) Spectator, who finds not a little recreation in watching the antics of those strange and puny puppets called men. A sense of humour has helped me to endure existence; in fact, when all else fails, I never fail to extract a sarcastic smile from the contemplation of my own empty and egotistical career!”

H.P. Lovecraft (1890–1937) American author

Letter to "The Keicomolo"—Kleiner, Cole, and Moe (October 1916), in Selected Letters I, 1911-1924 edited by August Derleth and Donald Wandrei, p. 27
Non-Fiction, Letters

Love, Life, Men, Books

“I remember, when we were still living in the Soviet Union, Mum would rush by like the wind in our apartment, covered with fur, or even running from one movie scene to the next, because she was a movie star there. Even if it was 40ºF outside, she always wore a miniskirt. For me, she was the most beautiful of all women.”

Milla Jovovich (1975) Ukrainian-born american model and actress

Interview 1

Women, Beauty, Star

“The self… is not an organic thing that has a specific location, whose fundamental fate is to be born, to mature, to die; it is a dramatic effect arising diffusely from a scene that is presented.”

Erving Goffman book The Presentation of Self in Everyday Life

p 252; Cited in: Javier Trevino, Goffman's Legacy. Rowman & Littlefield Publishers, 2003, p. 55.
1950s-1960s, The Presentation of Self in Everyday Life, 1959

Fate

“I am essentially a recluse who will have very little to do with people wherever he may be. I think that most people only make me nervous—that only by accident, and in extremely small quantities, would I ever be likely to come across people who wouldn't. It makes no difference how well they mean or how cordial they are—they simply get on my nerves unless they chance to represent a peculiarly similar combination of tastes, experiences, and heritages; as, for instance, Belknap chances to do... Therefore it may be taken as axiomatic that the people of a place matter absolutely nothing to me except as components of the general landscape and scenery. Let me have normal American faces in the streets to give the aspect of home and a white man's country, and I ask no more of featherless bipeds. My life lies not among people but among scenes—my local affections are not personal, but topographical and architectural. No one in Providence—family aside—has any especial bond of interest with me, but for that matter no one in Cambridge or anywhere else has, either. The question is that of which roofs and chimneys and doorways and trees and street vistas I love the best; which hills and woods, which roads and meadows, which farmhouses and views of distant white steeples in green valleys. I am always an outsider—to all scenes and all people—but outsiders have their sentimental preferences in visual environment. I will be dogmatic only to the extent of saying that it is New England I must have—in some form or other. Providence is part of me—I am Providence—but as I review the new impressions which have impinged upon me since birth, I think the greatest single emotion—and the most permanent one as concerns consequences to my inner life and imagination—I have ever experienced was my first sight of Marblehead in the golden glamour of late afternoon under the snow on December 17, 1922. That thrill has lasted as nothing else has—a visible climax and symbol of the lifelong mysterious tie which binds my soul to ancient things and ancient places.”

H.P. Lovecraft (1890–1937) American author

Letter to Lillian D. Clark (29 March 1926), quoted in Lord of a Visible World: An Autobiography in Letters edited by S. T. Joshi, p. 186
Non-Fiction, Letters

Love, Life, People, Family

“I was doing press for the show and they were going to show a clip from The L Word that included a love scene of sorts between me and another character, and she had the audacity to say, 'If there are any children in the room, you might want to ask them to leave.' And my mind was blown open and I said to her, ‘If it had been a heterosexual love scene, would you have asked the same question?’ I asked her on air, because I thought, it’s important to ask -- it contextualizes the import of the show." My feelings were hurt and it just spoke to me of what the gay and lesbian community has to deal with on a day-to-day basis in terms of popular media.”

Jennifer Beals (1963) American actress and a former teen model

Beals and Obama article (3 March 2009) http://www.douban.com/note/29958902/.

Love, Children, Feeling, Communication

“I've done a lot of talking over the past six years. My husband and I have been running the Sydney Theatre Company and it's been magic – my kids have been able to see so many of those transient moments between acting and real life behind the scenes. But now that I've given it up I'm looking forward to being a bit quieter. I'm very conscious of that. There have been times when I've heard myself in the past and thought: "Aw, just shut up."”

Cate Blanchett (1969) Australian actress

Cate Blanchett: 'You know you're a pessimist when you win an Oscar and think, "Oh God, I've peaked"', The Guardian, 30 November 2013 http://www.theguardian.com/film/2013/nov/30/cate-blanchett-actor-pessimist-oscar,

Life, Time, Past

“For a while it looked like I was going to be stuck in westerns. I figured out I could make 6 a year for 60 years and then retire. I decided I didn't want it. So I started blinking my eyes every time a gun went off in the scenes. That got me out of westerns.”

Robert Mitchum (1917–1997) American film actor, author, composer and singer

As quoted in "In Hollywood" https://www.google.com/search?client=safari&rls=en&q=%22For+a+while,+he+said,+it+looked+like+I+was+going+to+be+stuck+in+westerns.+I+figured+out+I+could+make+six+a+year+for+GO+years+und+then+retire.+I+decided+I+didn't+want+it.%22&ie=UTF-8&oe=UTF-8 by Erskine Johnson (NEA), in The Blytheville Courier News (May 2, 1946)

Time

“I had heated conflicts with Soumaya during every week that I was at father’s house. All I wanted to do was play WoW, and Soumaya strictly limited my playtime. Because my new room was just across from hers, she knew what I was doing at every single second. She was breathing down my neck the whole time. She kept making me do chores around the house. I despised doing work around the house, especially since we had a nanny who was supposed to do it. If I made a scene about doing the work, she took away my laptop for a day or two. This was the most horrible thing she could do to me, to take away my only source of joy left in the world. She sometimes did it even when father was at home, and father didn’t lift a finger to stop her.”

Elliot Rodger (1991–2014) American spree killer

My Twisted World (2014), Pastimes

World, Home, Time, Joy

“Now the trickiest catch in the negro problem is the fact that it is really twofold. The black is vastly inferior. There can be no question of this among contemporary and unsentimental biologists—eminent Europeans for whom the prejudice-problem does not exist. But, it is also a fact that there would be a very grave and very legitimate problem even if the negro were the white man's equal. For the simple fact is, that two widely dissimilar races, whether equal or not, cannot peaceably coexist in the same territory until they are either uniformly mongrelised or cast in folkways of permanent and traditional personal aloofness. No normal being feels at ease amidst a population having vast elements radically different from himself in physical aspect and emotional responses. A normal Yankee feels like a fish out of water in a crowd of cultivated Japanese, even though they may be his mental and aesthetic superiors; and the normal Jap feels the same way in a crowd of Yankees. This, of course, implies permanent association. We can all visit exotic scenes and like it—and when we are young and unsophisticated we usually think we might continue to like it as a regular thing. But as years pass, the need of old things and usual influences—home faces and home voices—grows stronger and stronger; and we come to see that mongrelism won't work. We require the environing influence of a set of ways and physical types like our own, and will sacrifice anything to get them. Nothing means anything, in the end, except with reference to that continuous immediate fabric of appearances and experiences of which one was originally part; and if we find ourselves ingulphed by alien and clashing influences, we instinctively fight against them in pursuit of the dominant freeman's average quota of legitimate contentment.... All that any living man normally wants—and all that any man worth calling such will stand for—is as stable and pure a perpetuation as possible of the set of forms and appearances to which his value-perceptions are, from the circumstances of moulding, instinctively attuned. That is all there is to life—the preservation of a framework which will render the experience of the individual apparently relevant and significant, and therefore reasonably satisfying. Here we have the normal phenomenon of race-prejudice in a nutshell—the legitimate fight of every virile personality to live in a world where life shall seem to mean something.... Just how the black and his tan penumbra can ultimately be adjusted to the American fabric, yet remains to be seen. It is possible that the economic dictatorship of the future can work out a diplomatic plan of separate allocation whereby the blacks may follow a self-contained life of their own, avoiding the keenest hardships of inferiority through a reduced number of points of contact with the whites... No one wishes them any intrinsic harm, and all would rejoice if a way were found to ameliorate such difficulties as they have without imperilling the structure of the dominant fabric. It is a fact, however, that sentimentalists exaggerate the woes of the average negro. Millions of them would be perfectly content with servile status if good physical treatment and amusement could be assured them, and they may yet form a well-managed agricultural peasantry. The real problem is the quadroon and octoroon—and still lighter shades. Theirs is a sorry tragedy, but they will have to find a special place. What we can do is to discourage the increase of their numbers by placing the highest possible penalties on miscegenation, and arousing as much public sentiment as possible against lax customs and attitudes—especially in the inland South—at present favouring the melancholy and disgusting phenomenon. All told, I think the modern American is pretty well on his guard, at last, against racial and cultural mongrelism. There will be much deterioration, but the Nordic has a fighting chance of coming out on top in the end.”

H.P. Lovecraft (1890–1937) American author

Letter to James F. Morton (January 1931), in Selected Letters III, 1929-1931 edited by August Derleth and Donald Wandrei, p. 253
Non-Fiction, Letters, to James Ferdinand Morton, Jr.

Life, World, Penalty, Way

“This whole creation is essentially subjective, and the dream is the theater where the dreamer is at once scene, actor, prompter, stage manager, author, audience, and critic.”

C.G. Jung (1875–1961) Swiss psychiatrist and psychotherapist who founded analytical psychology

General Aspects of Dream Psychology (1928)

Dreams

“My soul, sit thou a patient looker-on;
Judge not the play before the play is done:
Her plot hath many changes; every day
Speaks a new scene; the last act crowns the play.”

Francis Quarles (1592–1644) English poet

Epigram. Respice Finem (1635).

Soul, Change

“Accounts of outrages committed by mobs form the every-day news of the times. They have pervaded the country from New England to Louisiana, they are neither peculiar to the eternal snows of the former nor the burning suns of the latter; they are not the creature of climate, neither are they confined to the slaveholding or the non-slaveholding States. Alike they spring up among the pleasure-hunting masters of Southern slaves, and the order-loving citizens of the land of steady habits. Whatever then their cause may be, it is common to the whole country. […] Such are the effects of mob law, and such are the scenes becoming more and more frequent in this land so lately famed for love of law and order, and the stories of which have even now grown too familiar to attract anything more than an idle remark. But you are perhaps ready to ask, "What has this to do with the perpetuation of our political institutions?" I answer, "It has much to do with it."”

Abraham Lincoln (1809–1865) 16th President of the United States

Its direct consequences are, comparatively speaking, but a small evil, and much of its danger consists in the proneness of our minds to regard its direct as its only consequences.
1830s, The Lyceum Address (1838)

Love, Pleasure, Law, Spring

“It's nothing really. It's the unique presentation that makes me look good in the action scenes. Why did I dare do them? That's a funny question! Why do I act? Why do I breathe!”

Amitabh Bachchan (1942) Indian actor

Quotable quotes by Amitabh Bachchan.

Question

“A solemn scene it was indeed… He seemed to enjoy a triumph over me. Methought I heard him think, "Ay! I am fairly out and you are fairly in! See which of us will be the happiest!"”

George Washington (1732–1799) first President of the United States

John Adams, in a letter to his wife Abigail was here expressing his impression of what Washington seemed to be thinking after Adams was inaugurated as President. These impressions have sometimes been quoted as if they were something Washington had actually said to Adams. Quoted in A History of the United States and Its People: From Their Earliest Records to the Present Time (1904) by William Abbatt and Elroy McKendree Avery, p. 177; John Adams (2002) by David G. McCullough, p. 469; and The Portable John Adams (2004) edited by John Patrick Diggins, p. xi

Unsourced variants: Well, I am fairly out and you are fairly in. Now we shall see who enjoys it the most!
Ah! I am fairly out and you are fairly in! See which of us will be the happiest!
Misattributed

Thinking

“I felt that some horrible scene or object lurked beyond the silk-hung walls, and shrank from glancing through the arched, latticed windows that opened so bewilderingly on every hand.”

H.P. Lovecraft (1890–1937) American author

Fiction, The Crawling Chaos (1921)

“The scene should be gently open'd”

John Locke book Some Thoughts Concerning Education

Sec. 94
Some Thoughts Concerning Education (1693)
Context: The scene should be gently open'd, and his entrance made step by step, and the dangers pointed out that attend him from several degrees, tempers, designs, and clubs of men. He should be prepared to be shocked by some, and caress'd by others; warned who are like to oppose, who to mislead, who to undermine him, and who to serve him. He should be instructed how to know and distinguish them; where he should let them see, and when dissemble the knowledge of them and their aims and workings.

“I believe this thought, of the possibility of death — if calmly realised, and steadily faced would be one of the best possible tests as to our going to any scene of amusement being right or wrong.”

Lewis Carroll book Sylvie and Bruno

Preface
Sylvie and Bruno (1889)
Context: I believe this thought, of the possibility of death — if calmly realised, and steadily faced would be one of the best possible tests as to our going to any scene of amusement being right or wrong. If the thought of sudden death acquires, for you, a special horror when imagined as happening in a theatre, then be very sure the theatre is harmful for you, however harmless it may be for others; and that you are incurring a deadly peril in going. Be sure the safest rule is that we should not dare to live in any scene in which we dare not die.
But, once realise what the true object is in life — that it is not pleasure, not knowledge, not even fame itself, 'that last infirmity of noble minds' — but that it is the development of character, the rising to a higher, nobler, purer standard, the building-up of the perfect Man — and then, so long as we feel that this is going on, and will (we trust) go on for evermore, death has for us no terror; it is not a shadow, but a light; not an end, but a beginning!

Death

“Be sure the safest rule is that we should not dare to live in any scene in which we dare not die.”

Lewis Carroll book Sylvie and Bruno

“The human imagination leaps to form the whole, to complete the scene in order to make sense of it.”

Rollo May (1909–1994) US psychiatrist

Source: The Courage to Create (1975), Ch. 7 : Passion for Form, p. 131
Context: The human imagination leaps to form the whole, to complete the scene in order to make sense of it. The instantaneous way this is done shows how we are driven to construct the remainder of the scene. To fill the gaps is essential if the scene is to have meaning. That we may do this in misleading ways — at times in neurotic or paranoid ways — does not gainsay the central point. Our passion for form expresses our yearning to make the world adequate to our needs and desires, and, more important, to experience ourselves as having significance.

Imagination, Sense

“I have the consolation to believe, that, while choice and prudence invite me to quit the political scene, patriotism does not forbid it.”

George Washington (1732–1799) first President of the United States

1790s, Farewell Address (1796)
Context: Every day the increasing weight of years admonishes me more and more, that the shade of retirement is as necessary to me as it will be welcome. Satisfied, that, if any circumstances have given peculiar value to my services, they were temporary, I have the consolation to believe, that, while choice and prudence invite me to quit the political scene, patriotism does not forbid it.

“Terror can be very efficient against a reactionary class which does not want to leave the scene of operations. Intimidation is a powerful weapon of policy, both internationally and internally. War, like revolution, is founded upon intimidation.”

Leon Trotsky book Terrorism and Communism

Terrorism and Communism (1920)

War

“I love the stuff and material of writing: words. The games you can play with them. The rhythm and lyricism in a good passage of writing. The power of a simple sentence. I also love the paradoxical bind of writing as both freedom and constraint. You start creating characters and scenes out of thin air. But if you do it well enough, that freedom constricts, because your characters are no longer inside you. They become their own people, agents on the page who need to act and think and feel in ways true to who they are…”

Randa Abdel-Fattah (1979) contemporary Australian writer of novels for young adults

On writing as a kind of spiritual act in “Both Freedom and Constraint: An Interview with Randa Abdel-Fattah” https://www.wordswithoutborders.org/article/both-freedom-and-constraint-an-interview-with in Words Without Borders (May 2015)

Love, People, Making love, Way

“It was the cause of America that made me an author. The force with which it struck my mind and the dangerous condition the country appeared to me in, by courting an impossible and an unnatural reconciliation with those who were determined to reduce her, instead of striking out into the only line that could cement and save her, A Declaration Of Independence, made it impossible for me, feeling as I did, to be silent: and if, in the course of more than seven years, I have rendered her any service, I have likewise added something to the reputation of literature, by freely and disinterestedly employing it in the great cause of mankind, and showing that there may be genius without prostitution. Independence always appeared to me practicable and probable, provided the sentiment of the country could be formed and held to the object: and there is no instance in the world, where a people so extended, and wedded to former habits of thinking, and under such a variety of circumstances, were so instantly and effectually pervaded, by a turn in politics, as in the case of independence; and who supported their opinion, undiminished, through such a succession of good and ill fortune, till they crowned it with success. But as the scenes of war are closed, and every man preparing for home and happier times, I therefore take my leave of the subject. I have most sincerely followed it from beginning to end, and through all its turns and windings: and whatever country I may hereafter be in, I shall always feel an honest pride at the part I have taken and acted, and a gratitude to nature and providence for putting it in my power to be of some use to mankind.”

Thomas Paine (1737–1809) English and American political activist

The Crisis No. XIII
1770s, The American Crisis (1776–1783)

War, People, World, Feeling

“In the vivid description of the Gospel, it would seem that we must help the Christ hidden in every poor man, in every prisioner, in every sufferer. But if we paraphrased the marvelous scene and applied it to the child, we should find that Christ goes to help all men in the form of the child.”

Maria Montessori (1870–1952) Italian pedagogue, philosopher and physician

The Secret of Childhood, p. 106

Men, Suffering, Help, Christ

“Confidence is a whisper, decisiveness is a calm tone, arrogance is a scream, and aggression is a buddy nose; one’s demeanor will describe the scene.”

Gandolfo – (RJ Intindola)

1979

Confidence, Decision, Self-confidence

“I think that I have influenced several generations of performers in Mexico. I’m proud of that because it isn’t easy in these scenes. But then it is easy because it’s what you love to do, and it’s your passion. Even in your down times, you are always accompanied by your music.”

Lila Downs (1968) Mexican American singer-songwriter

On being a folk musician in “Lila Downs Explores Mexican Heritage Through the Pepper in New LP, ‘Al Chile’” https://www.rollingstone.com/music/music-latin/lila-downs-new-lp-al-chile-interview-841209/ in Rolling Stone (29 May 2019) <br class="br">Music and culture

Love, Making love, Music, Thinking

“We're not just athletes or entertainment -- we're human, too, and we have real emotions. Sometimes they don't realize that we have things going on behind the scenes that affects us whenever we go out and compete.”

Simone Biles (1997) American gymnast

"What's Next for Simone Biles? Gymnast Answers Questions on Future After Tokyo Games" in NBC Chicago (3 August 2021) https://www.nbcchicago.com/news/sports/tokyo-summer-olympics/simone-biles-whats-next-gymnast-answers-questions-on-future-after-tokyo-games/2578051/

“People want to see it because although it’s not a pretty scene that the movie is reflecting; it still is the reality that we live in, and it just portrays and exemplifies the life that we live in as it is. Nothing more, nothing less.”

Park So-dam (1991) South Korean actress

On why Parasite has been a tremendous success in South Korea in "PARASITE Interview: Park So-dam on Failure, Family, and "Appa" Song Kang-ho" in Screen Anarchy (21 October 2019) https://screenanarchy.com/2019/10/parasite-interview-park-so-dam-on-bong-joon-ho-and-song-kang-ho.html

Life, People, Reality

“I almost think the chemistry, as opposed to the physical mechanics of the actual kissing or a sex scene, is more palpable in the lack of contact.”

Timothée Chalamet (1995) French-American Actor (1995)

Source: "Timothée Chalamet and Armie Hammer on friendship, the Oscars and that peach scene" in GQ Magazine https://www.gq-magazine.co.uk/article/armie-hammer-timothee-chalamet-interview (17 September 2017)

Sex, Kiss, Thinking

“The Last Supper is supposed to be thirteen men. Who is this woman?

"Everyone misses it, our preconceived notions of this scene are so powerful that our mind blocks out the incongruity and overrides our eyes.”

Dan Brown book The Da Vinci Code

Source: The Da Vinci Code

Men

“The Angels don’t like to be called losers, but they have learned to live with it. “Yeah, I guess I am,” said one. “But you’re looking at one loser who’s going to make a hell of a scene on the way out.”

Hunter S. Thompson (1937–2005) American journalist and author

Source: Hell's Angels: A Strange and Terrible Saga

Angels, Way, Hell, Learning

“You're taking classes? That's great. Crime scene etiquette, perhaps?”

Kim Harrison (1966) Pseudonym

White Witch, Black Curse

“No one can give anyone else the gift of the idyll; only an animal can do so, because only animals were not expelled from Paradise. The love between dog and man is idyllic. It knows no conflicts, no hair-raising scenes; it knows no development.”

Milan Kundera book The Unbearable Lightness of Being

Source: The Unbearable Lightness of Being

Love, Dogs, Animals

“I think that this scene is upsetting because it calls us beyond fact into the vast world of imagination, and imagination is a word of many dimensions.”

Madeleine L'Engle (1918–2007) American writer

Acceptance Speech for the Margaret Edwards Award (1998)
Source: A Circle of Quiet
Context: In Kenneth Grahame's beautiful book, The Wind In The Willows, Mole and Rat go to the holy island of the great god, Pan. It is a superb piece of religious writing, but because it has gone beyond fact, it is deeply upsetting and untruthful to some people. If a story is not specified as being Christian, it is not Christian. But that is not so.
I think that this scene is upsetting because it calls us beyond fact into the vast world of imagination, and imagination is a word of many dimensions.

World, Imagination, Thinking