Quotes about scene
page 2

“It was the old New York way of taking life "without effusion of blood": the way of people who dreaded scandal more than disease, who placed decency above courage, and who considered that nothing was more ill-bred than "scenes," except the behaviour of those who gave rise to them.”

Edith Wharton The Age of Innocence

Source: The Age of Innocence (1920), Ch. 33

Life, People, Disease, Way

“I've played the powerless in too many dark scenes. I was blessed with a birth and a death and I guess I just want some say in between”

Ani DiFranco (1970) musician and activist

Talk To Me Now
Song lyrics
Variant: I was blessed with a birth and a death, and I guess I just want some say in-between.

Death, Birth

“Fang looked at me, hope in his eyes, and I smirked at him. I save the huge emotional kissy-face for imminent death scenes. This probably didn't qualify.”

James Patterson book Maximum Ride

Source: Max

Death, Hope

“I was enjoying myself now. I had taken two finger bowls of champagne and the scene had changed before my eyes into something significant, elemental and profound.”

F. Scott Fitzgerald The Great Gatsby

Source: The Great Gatsby

Change

“Sundown yellow moon I replay the past
I know every scene by heart they all went by so fast”

Bob Dylan (1941) American singer-songwriter, musician, author, and artist

Song lyrics, Blood on the Tracks (1975), If You See Her, Say Hello
Variant: I know every scene by heart they all went by so fast

Past, Heart

“The Supreme Court has ruled that they cannot have a nativity scene in Washington, D. C. This wasn't for any religious reasons. They couldn't find three wise men and a virgin.”

Jay Leno (1950) American comedian, actor, writer, producer, voice actor and television host

Men

“Death is just the last scene of the last act.”

Joyce Carol Oates Blonde

Source: Blonde

Death

“I have a rotten habit of picturing the bedroom scenes of my friends.”

Ernest Hemingway book The Sun Also Rises

Source: The Sun Also Rises

“My boy, that was a TV show. I used a stunt double. I always use a stunt double. Except in love scenes. I insist on doing those myself.”

William Shatner (1931) Canadian actor, musician, recording artist, author, and film director

Love, Boy

“Scenes of blood and cruelty are shocking to our ear and heart. What man has nerve to do, man has not nerve to hear.”

Harriet Beecher Stowe book Uncle Tom's Cabin

Source: Uncle Tom's Cabin

Heart

“If you don't like the scene you're in, if you're unhappy, if you're lonely, if you don't feel that things are happening, change your scene. Paint a new backdrop.”

Leo Buscaglia (1924–1998) Motivational speaker, writer

Feeling, Change, Painting

“Okay. Now you have to move your arms and legs.”
“I know how to make a snow angel.”
“Then do it! Otherwise, you’re more like a chalk outline at a police crime scene.”

Richelle Mead Blood Promise

Source: Blood Promise

Angels

“Michael has never cried during a Broadway show. Except in that scene where Tarzan's ape father is brutally murdered.

And that was only because he was laughing so hard.”

Meg Cabot (1967) Novelist

Source: Princess Mia

“We're shooting the scene where I swallow your heart and you make me
spit it up again. I swallow your heart and it crawls
right out of my mouth.
You swallow my heart and flee, but I want it back now, baby. I want it back.”

Richard Siken (1967) American poet

Source: Crush

Heart, Baby

“Every artist joins a conversation that's been going on for generations, even millennia, before he or she joins the scene.”

John Barth (1930) American writer

“I do not feel inhibited or bound by what I am. That does not mean that I have never had bad scenes relating to being Black and/or a woman, it means that other people’s craziness has not managed to make me crazy.”

Lucille Clifton (1936–2010) American poet

People, Feeling

“Can death be sleep, when life is but a dream,
And scenes of bliss pass as a phantom by?
---"On death”

John Keats (1795–1821) English Romantic poet

Source: Complete Poems and Selected Letters

Life, Death, Dreams, Sleep

“Apart from the faint odor of ink that pervaded the scene, it might have been real.”

Jasper Fforde book The Eyre Affair

Source: The Eyre Affair

“Once the state has been founded, there can no longer be any heroes. They come on the scene only in uncivilized conditions.”

Georg Wilhelm Friedrich Hegel (1770–1831) German philosopher

“The cross solved our problem by first revealing our real problem, our universal pattern of scapegoating and sacrificing others. The cross exposes forever the scene of our crime.”

Richard Rohr (1943) American spiritual writer, speaker, teacher, Catholic Franciscan priest

Source: Falling Upward: A Spirituality for the Two Halves of Life

Problem, Universe

“She'd made him watch every Alien movie. Most of the goriest scenes were accompanied by his dialogue: 'Ach, that's no' - that's just no' right…. Bloody hell, this canna be right.”

Kresley Cole book A Hunger Like No Other

Source: A Hunger Like No Other

Hell

“It is the function of art to renew our perception. What we are familiar with we cease to see. The writer shakes up the familiar scene, and, as if by magic, we see a new meaning in it.”

Anaïs Nin (1903–1977) writer of novels, short stories, and erotica

Art

“A scene should be selected by the writer for haunted-ness-of-mind interest.
If you're not haunted by something, as by a dream, a vision, or a memory, which are involuntary, you're not interested or even involved.”

Jack Kerouac book Book of Sketches

Source: Book of Sketches

Dreams, Memory

“You've got it all turned upside-down.
Does the rain that's sent each spring anew to fall on her not fall on you?
You project on her your inward scenes, she's a blank, external movie screen.
But the One who looks out from your eyes looks through hers and through mine.”

Aaron Weiss

Bullet to Binary (Pt.2).
It's All Crazy! It's All False! It's All A Dream! It's Alright (2009)

Spring

“In this assembly, every political school has its teachers — every creed has its adherents — and I may safely say, that this banquet is the tribute of United Ireland to the representative of American benevolence. Being such, I am at once reminded of the dinner which took place after the battle of Saratoga, at which Gates and Burgoyne — the rival soldiers — sat together. Strange scene! Ireland, the beaten and the bankrupt, entertains America, the victorious and the prosperous! Stranger still! The flag of the Victor decorates this hail — decorates our harbour — not, indeed, in triumph, but in sympathy — not to commemorate the defeat, but to predict the resurrection, of a fallen people! One thing is certain — we are sincere upon this occasion. There is truth in this compliment. For the first time in her career, Ireland has reason to be grateful to a foreign power. Foreign power, sir! Why should I designate that country a "foreign power," which has proved itself our sister country? England, they sometimes say, is our sister country. We deny the relationship — we discard it. We claim America as our sister, and claiming her as such, we have assembled here this night. Should a stranger, viewing this brilliant scene inquire of me, why it is that, amid the desolation of this day — whilst famine is in the land — whilst the hearse-plumes darken the summer scenery of the island, whilst death sows his harvest, and the earth teems not with the seeds of life, but with the seeds of corruption — should he inquire of me, why it is, that, amid this desolation, we hold high festival, hang out our banners, and thus carouse — I should reply, "Sir, the citizens of Dublin have met to pay a compliment to a plain citizen of America, which they would not pay — 'no, not for all the gold in Venice'”

Thomas Francis Meagher (1823–1867) Irish nationalist & American politician

to the minister of England."
Ireland and America (1846)

Life, Death, People, Truth

“[Recounting a scene in The Gunfighter] Turn him loose, let him go, let him say he outdrew me fair and square — I want him to feel what it's like to every moment face his death.”

Bob Dylan (1941) American singer-songwriter, musician, author, and artist

Song lyrics, Knocked Out Loaded (1986), Brownsville Girl (with Sam Shepard)

Death, Feeling

“Thus heavenly hope is all serene,
But earthly hope, how bright soe’er,
Still fluctuates o’er this changing scene,
As false and fleeting as ’t is fair.”

Reginald Heber (1783–1826) English clergyman

"On Heavenly Hope and Earthly Hope".
need further publication dates

Hope, Change, Falseness

“I'd hear, "Because they paid the man, there's no money for the woman." How many times do you think I heard this? Over and over. Then I became a sex symbol. Now, how the hell did that happen? I don't exactly know the moment when it happened, but all of a sudden I'm a bombshell. The way I discovered this was I did Desperado. I had a very hard time with the love scene. I cried throughout the love scene. That's why you never see long pieces of the love scene — it's little pieces cut together. I'm crying most of the time so they have to take little pieces. It took eight hours instead of an hour. I nearly got fired. … Because I didn't want to be naked in front of a camera. The whole time, I'm thinking of my father and my brother… And then when the movie comes out, I read the first review. What do they say about me. "Salma Hayek is a bombshell." I had heard that when a movie does badly here, they say it bombs. So I'm crying. Thinking they're saying, "That terrible actress! It's a bomb! Salma Hayek is the worst part of the movie!" I called my friend and said, "The critics are destroying me!" She says, "No, they're saying you're very sexy." And then I look at all the reviews, and everybody said I was very sexy. So I'm very confused. I said, "I wonder if that's good or bad." I hear, "Yes, that's good." Then I do Fools Rush In, and I'm a pregnant woman. And they say I'm sexy again! I go, "But I'm pregnant!"”

Salma Hayek (1966) Mexican-American actress and producer

I'm not even naked in this movie, and they still say I'm sexy. And then it became very depressing — I thought, I guess I'm reduced to that now. That's all I am in the perception of these people.
O interview (2003)

Love, Money, People, Fools

“Seeing the water birds on the lake increase in number day by day, I thought to myself how nice it would be if it snowed before we got back to the Palace—the garden would look so beautiful; and then, two days later, while I was away on a short visit, lo and behold, it did snow. As I watched the rather drab scene at home, I felt both depressed and confused. For some years now I had existed from day to day in listless fashion, taking note of the flowers, the birds in song, the way the skies change from season to season, the moon, the frost and snow, doing little more than registering the passage of time. How would it all turn out? The thought of my continuing loneliness was unbearable, and yet I had managed to exchange sympathetic letters with those of like mind—some contacted via fairly tenuous connections—who would discuss my trifling tales and other matters with me; but I was merely amusing myself with fictions, finding solace for my idleness in foolish words. Aware of my own insignificance, I had at least managed for the time being to avoid anything that might have been considered shameful or unbecoming; yet here I was, tasting the bitterness of life to the very full.”

Murasaki Shikibu book The Diary of Lady Murasaki

trans. Richard Bowring (Penguin Books, 1996)
The Diary of Lady Murasaki

Life, Beauty, Way, Home

“My first memory of Nirvana was getting a cassette of demos, which ended up becoming Bleach. Everybody's response was that this was an amazing band and these were amazing songs. It was another indication that the Northwest had something special that you couldn't argue with.
It was pretty shocking to see a threepiece that sounded like that, and trying to get inside the head of a guy who writes a song like "Floyd the Barber" – where does the kernel of a song like that start?
The Seattle scene benefitted from an MTV culture, and it was because of the way Nirvana looked and presented themselves that created this kind of unanimous support worldwide. Rock music had become kind of hedonistic – 35-year-old men taking a helicopter to the stage and dating supermodels, and going out of their way to separate themselves from their audience. Nirvana, more than any other band, rocked way harder, had significant originality, while looking like guys you went to high school with. I think that was their secret. There was an inclusion that was long overdue, and it was what rock was supposed to be about.
The legend isn't simply going to be the way that he took his life; I believe it will always be the songs.”

Chris Cornell (1964–2017) American singer-songwriter, musician

Soundgarden Era

Life, Men, Secret, School

“I'll very often just start humming my way through a scene. Say, OK the tempo should be about like this, it should pause here, it should pick up here. And very often I'll make up a little melody just to do that. About half of the little melodies in the score for Jonah are those little melodies that I made up just to use to kind of pace a scene and then we got kind of attached to them.”

Phil Vischer (1966) American puppeter

From Disc Two; The Music: The Score (00:00:17-00:00:38)
Jonah: A VeggieTales Movie DVD (2002)

Way

“[Unnamed actress on the set of Grand Prix] never had eyes for me. Hell, she wouldn't even talk to me, after she'd found out that I was just an unimportant actor. Good grief! Then, this is what happened: We were sitting in the foyer of the Hotel de Paris in Monte Carlo. She, myself and Antonio. Then an assistant director crossed our path. That actress was trying to get him to take us to the theatre where they were showing the rushes of the day before. After some discussion, she persuaded him. He said: `Be quiet, I'm gonna lose my job…' So we hid in the balcony, looking down, where that wonderful director Frankenheimer was sitting. After some minutes of racing cars, finally her scene came, and she was doing a phone call - she was playing a sophisticated magazine editor -, and suddenly you could hear the director, who had this loud, resonant voice, howling in rage, because he didn't like her at all. `Oh my God, she's awful! She can't walk, she can't talk, look at her hair!' So he turned to that faggot hairdresser, who was like Katherine the Great, and this guy said: `Well, usually she plays this peasant types. I don't know why you cast her for this role in the first place!”

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

And remember, this actress was sitting there with us, and she nearly went crazy! She was squirming with embarrassment. This is an actor's nightmare, you know. The next day she was fired.
Euro Trash Cinema magazine interview (March 1996)

God, Cars, Guy, Hell

“There are some movies I can watch over and over, never get sick of. I'll put one of those on and be puttering around the house. Then a certain scene will come on and I'll just have to go over and watch.”

David Fincher (1962) American film director

A Talk With David Fincher (1999)

Housing

“Since its emergence on the international scene, the PLO has always distinguished between Zionists and Jews.”

Joseph Massad (1963) Associate Professor of Arab Studies

Massad, in "Palestinians and Jewish History: Recognition or Submission?", Journal of Palestine Studies, 2000
On the PLO

“In my opinion the aim of the painter is similar with that of the poet, insofar that both want to affect the feelings of the viewer or reader. As soon as their scenes.... are lacking the mark of nature, of truth, than both will fail to realize it. The Dutch painter feels - as well as the Germans do - the influence of sublime nature, but the Dutch painter first wants to be acquainted with 'plain truth', to combine it afterwards with the poetic..”

Barend Cornelis Koekkoek (1803–1862) painter from the Northern Netherlands

(original Dutch, citaat van B.C. Koekkoek:) Het doel van den schilder is, naar mijn wijze van zien, in zoverre met dat des dichters gelijk, dat beiden op het gevoel van den beschouwer of den lezer willen werken. Dit kunnen zij onmogelijk doen, zodra hunne taferelen.. ..den stempel der natuur, de waarheid missen.. .De Nederlandschee schilder gevoelt even goed als de Duitsche den invloed der verhevenen natuur, maar de Nederlander wil eerst met het 'eenvoudige ware' bekend zijn, om hetzelve later met dichterlijke te vereenigen..
Source: Herinneringen aan en Mededeelingen van…' (1841), p. 29-30

Truth, Feeling, Nature

“The period during the First World War was a very exciting time in Paris, with artists, philosophers, and poets continually discussing and arguing about the work with which they were involved. Although I myself am little concerned with abstract theory, I certainly do think of cubism as a form of emancipation essentially different from artistic movements that had preceded it. Thus, impressionism, while it was a revolutionary technique, was still an essentially naturalistic movement concerned with a precise examination of the nature of light and the effect of changing lights on representational scenes and objects. Cubism did add a new dimension to painting and sculpture, a dimension that changed our way of looking at nature and the work of art.”

Jacques Lipchitz (1891–1973) American and French sculptor

Source: Jacques Lipchitz: My life in sculpture, 1972, p. 40

War, World, Art, Way

“The next superstar could very well be ET!!! Sincerely, at that point in the history of Hollywood, there were no stars. Paul Newman has said on record, ‘What’s the point in my being an actor? The three greatest hits have been mechanical gadgets!’ There was a shark in Jaws that crashed the box-office, there was this peculiar animal in ET and there was that robot in Star Wars. I saw it millions of times. And everytime I see ET I find it’s a lovable person. So maybe you don’t need an actor, it’s going to be a computer! Look, one of the poignant scenes in 2001 Space Odyssey was the death of the computer. The computer on board is programmed to take the spaceship to a particular planet and also manage everything, right to the food of the astronauts. Then they realize that this very same computer is actually programmed to sabotage the mission. So this astronaut unscrews the computer. It dies with the voice going fainter ‘Don’t kill … me … don’t … kill me’. If just mechanical gadgets are going to be moving us to tears, then Paul Newman is right. What is the need for actors?”

Amitabh Bachchan (1942) Indian actor

Quotable quotes by Amitabh Bachchan.

Death, War, Food, History

“In a distant age and climate, the tragic scene of the death of Husein will awaken the sympathy of the coldest reader.”

Husayn ibn Ali (626–680) The grandson of Muhammad and the son of Ali ibn Abi Talib

Edward Gibbon, The Decline and Fall of the Roman Empire, vol. 2, p. 218 http://books.google.com/books?id=VvXSAAAAMAAJ&pg=PA218&dq=Edward+Gibbon+Hosein&hl=en&sa=X&ei=4eogT_7ZEZToiALbpIGBCA&ved=0CEkQ6AEwBA#v=onepage&q=hosein&f=false <br class="br">Quotes by non-Muslims

Death, Age, Distant

“To me, through every season dearest;
In every scene, by day, by night,
Thou, present to my mind appearest
A quenchless star, forever bright;
My solitary sole delight:
Where’er I am, by shore—at sea—
I think of thee.”

David Macbeth Moir (1798–1851) Scottish physician and writer

When Thou at Eve art Roaming, reported in Bartlett's Familiar Quotations, 10th ed. (1919).

Star, Thinking, Sea, Night

“Every body and every thing conspire to make me as contented as possible in it; yet I have seen too much of the vanity of human affairs, to expect felicity from the splendid scenes of public life. I am still determined to be cheerful and to be happy, in whatever situation I may be; for I have also learnt, from experience, that the greater part of our happiness or misery depends upon our dispositions, and not upon our circumstances. We carry the seeds of the one or the other about with us, in our minds, wheresoever we go.”

Martha Washington (1731–1802) First Lady of the United States

Letter to Mercy Warren (1789)

Life, Happiness, Parting, Dependency

“Between the fine point of the brush and the steely gaze, the scene is about to yield up its volume.”

Michel Foucault (1926–1984) French philosopher

Las Meninas
The Order of Things: An Archaeology of the Human Sciences (1970)

“[Describing her visit to a slaughter facility in Pennsylvania] The floor was very slippery and the walls and everything else were covered with blood. Dried blood had formed a crust on the chains. I surely didn't want to fall down in all that blood and guts. The workers wore non-slip boots, yellow aprons, and helmets. It was a scene of controlled, mechanized chaos.”

Sue Coe (1951) British artist

Dead Meat, as quoted in A Plea for the Animals by Matthieu Ricard (Boulder, CO: Shambhala, 2016), p. 78 https://books.google.it/books?id=bTLuDAAAQBAJ&pg=PA78.

“The mind of a traveler has only one spotlight, and it is always trained on the present scene.”

Emily Hahn (1905–1997) American writer

Times and Places

Travel, Training

“Of course, however, the living voice and the intimacy of a common life will help you more than the written word. You must go to the scene of action, first, because men put more faith in their eyes than in their ears, and second, because the way is long if one follows precepts, but short and helpful, if one follows patterns.”
Plus tamen tibi et viva vox et convictus quam oratio proderit; in rem praesentem venias oportet, primum quia homines amplius oculis quam auribus credunt, deinde quia longum iter est per praecepta, breve et efficax per exempla.

Seneca the Younger (-4–65 BC) Roman Stoic philosopher, statesman, and dramatist

Alternate translation: Teaching by precept is a long road, but short and beneficial is the way by example.
Source: Epistulae Morales ad Lucilium (Moral Letters to Lucilius), Letter VI: On precepts and exemplars, Line 5.

Life, Men, Faith, Way

“In that Renaissance (Cellini, Tintoretto, Titian..) there was an explosion of unique truthfulness, a love of painting and form... Then come the Jesuits and everything is formal; everything has to be taught and learned. It required a revolution for nature to be rediscovered; for Delacroix to paint his beach at Etratat, Corot his roman rubble, Gustave Courbet his forest scenes and his waves. And how miserable slow that revolution was, how many stages it had to go through!... These artists had not yet discovered that nature has more to do with depth than with surfaces. I can tell you, you can do things to the surface.... but by going deep you automatically go to the truth. You feel a healthy need to be truthful. You'd rather strip your canvas right down than invent or imagine a detail. You want to know.”

Paul Cézanne (1839–1906) French painter

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), pp. 156-157, in: 'What he told me – I. The motif'

Love, Truth, Feeling, Imagination

“The Priest … appears on the scene at a time when Prophecy has already succeeded in hewing out a path for its Idea; when that Idea has already had a certain effect on the trend of society, and has brought about a new harmony or balance be tween the different forces at work. The Priest also fosters the Idea, and desires to perpetuate it; but he is not of the race of giants. He has not the strength to fight continually against necessity and actuality; his tendency is rather to bow to the one and come to terms with the other. Instead of clinging to the narrowness of the Prophet, and demanding of reality what it cannot give, he broadens his outlook, and takes a wider view of the relation between his Idea and the facts of life. Not what ought to be, but what can be, is what he seeks. His watchword is not the Idea, the whole Idea, and nothing but the Idea; he accepts the complex "harmony" which has resulted from the conflict of that Idea with other forces. His battle is no longer a battle against actuality, but a battle in the name of actuality against its enemies.”

Ahad Ha'am (1856–1927) Hebrew essayist and thinker

Source: Selected Essays (1904), "Priest and Prophet" (1893), pp. 131-132

Life, Idea, Reality, Appearance

“It. Is. Not. Ended. There was just the trace of a humourless smile on his face; and more than a trace of menace. As if he meant something more than that there was a sequel to this scene; but that the whole Nazi weltanschaaung to be, resurrected and realised. He was an impressively iron man…”

John Fowles book Daniel Martin

Daniel Martin (1977)

Smile

“Funny scene, likesay, how aw the psychos seem tae ken each other, ken what ah means, likes?”

Irvine Welsh book Trainspotting

Spud, "Kicking Again: Na Na and Other Nazis" (Chapter 3, Story 2).
Trainspotting (1993)

“A ghost story of which the scene is laid in the twelfth or thirteenth century may succeed in being romantic or poetical: it will never put the reader into the position of saying to himself: "If I'm not careful, something of this kind may happen to me!"”

M. R. James (1862–1936) British writer

Preface to More Ghost Stories of an Antiquary (1911); cited from Michael Cox (ed.) Casting the Runes and Other Ghost Stories (Oxford: Oxford University Press, 1998) pp. 337-8.

“Plainly Hugo was the greatest man of letters of his day. It has been given to few or none to live a life so full of effort and achievement, so rich in honour and success and fame. Born almost with the century, he was a writer at fifteen, and at his death he was writing still; so that the record of his career embraces a period of more than sixty years. There is hardly a department of art to a foremost place in which he did not prove his right. From first to last; from the time of Chateaubriand to the time of Zola, he was a leader of men; and with his departure from the scene the undivided sovereignty of literature became a thing of the past like Alexander's empire.”

William Ernest Henley (1849–1903) English poet, critic and editor

"Hugo"
Views and Reviews (1889)

Life, Death, Men, Art

“And that’s when it turned intae the full-dress faeco-ventilatory intersection scene.”

Charles Stross book Iron Sunrise

Source: Iron Sunrise (2004), Chapter 2, “Out of the Frying Pan” (p. 45)

“The appalling and shameful scene ("spectacle", Fr.) of disarray and illogicality that manifest itself in the thought and deeds of men, will no longer be seen, once these will possess an enlighten consciouness.”

African Spir (1837–1890) Russian philosopher

Source: Words of a Sage : Selected thoughts of African Spir (1937), p. 61.

Men

“[learning European modern art by seeing it in the art-magazine 'w:Cahiers d'art']…. my heritage was all those things; [De Stijl, Constructivism, Cubism, Surrealism ] simultaneously, so I am all those things. I hope with a very strong intellectual regard for Cubism, and an admiration for it, because it was great at a particular time. It was both painting and sculpture. It was a great point of liberation in both painting and sculpture, and especially sculpture. [David Smith was one of the few sculptors in the art scene of American Abstract Expressionism ]”

David Smith (1906–1965) American visual artist (1906-1965)

In an interview with w:David Sylvester (1960), edited for BBC broadcasting: first published in 'Living Arts', April 1964; as quoted in Interviews with American Artists, by David Sylvester; Chatto & Windus, London 2001, p. 8
1960s

Hope, Art, Strong, Learning

“As vampire movies go, few are more memorable than Nosferatu, which is not only the first screen version of Dracula, but, in some ways, remains the best. Unlike many of his predecessors who dabbled in the vampire genre, Murnau was a craftsman, and the care he lavished upon this production is evident in each shot and every scene. Alongside The Cabinet of Dr. Caligari, few motion pictures have had a more profound impact upon an entire genre than Nosferatu has had upon the legion of horror movies that trailed in its wake.”

James Berardinelli (1967) American film critic

Review http://www.reelviews.net/movies/n/nosferatu.html of Nosferatu (1922). <br class="br">Three-and-a-half star reviews

Way

“To die under the flag of Vietnam, of Venezuela, of Guatemala, of Laos, of Guinea, of Colombia, of Bolivia, of Brazil — to name only a few scenes of today's armed struggle — would be equally glorious and desirable for an American, an Asian, an African, even a European.”

Ernesto Che Guevara (1928–1967) Argentine Marxist revolutionary

Message to the Tricontinental (1967)

“Today, Psycho still holds up extraordinarily well (another reason why a remake seems pointless). With the exception of Halloween, no latter-day horror/thriller has been capable of generating as many goosebumps. The black-and-white photography is perfect for the film's tone and mood — the starkness of color would have blurred the nightmarish quality. The painstaking care with which [director Alfred] Hitchcock composed every scene is evident in the quality of the final product.”

James Berardinelli (1967) American film critic

Review http://www.reelviews.net/php_review_template.php?identifier=669 of Psycho (1960). <br class="br">Three-and-a-half star reviews

Color, Mood, Perfection

“Nursed amid her [London's] noise, her crowds, her beloved smoke, what have I been doing all my life, if I have not lent out my heart with usury to such scenes?”

Charles Lamb (1775–1834) English essayist

Letter to Thomas Manning (February 15, 1802)

Life, Heart

“Having the security of being in a series week in, week out gives you great flexibility; you can experience with yourself, try a different scene different ways. If you make a mistake one week, you can look at it and say, 'Well, I won't do that again,' and you're still on the air next week.”

Clint Eastwood (1930) actor and director from the United States

On Rawhides impact on his beginning acting career
Zmijewsky, Boris; Lee Pfeiffer (1982). The Films of Clint Eastwood. p. 20. Secaucus, New Jersey: Citadel Press. ISBN 0806508639.

Way

“In a distant age and climate the tragic scene of the death of Hussyn will awaken the sympathy of the coldest reader.”

Edward Gibbon (1737–1794) English historian and Member of Parliament

Vol. 5, pages:391–392.
The Decline And Fall Of The Roman Empire: Volume 1 (1776)

Death, Age, Distant

“If one perceives of it all – the entire War or even life as a whole – as a scene in the theater of 'infinity', many things are much easier to bear.”

Max Beckmann (1884–1950) German painter, draftsman, printmaker, sculptor and writer

Beckmann's Diary, 12 September 1940, Amsterdam; as quoted on: 'Arts in exile' http://kuenste-im-exil.de <br class="br">1940s

Life, War

“There are times when a company’s know-how, product range, and labor relations are in harmony with the world around it. The business situations are familiar, the company is well organized, and employees are trained and prepared. During those times, managers do not need to develop and implement new ideas. Their job is to allocate resources to promote growth and development, channeling capital and people to the parts of the organization best positioned to benefit from the current state of affairs. Those parts of the organization then become larger, better established, and more powerful.
But just when the company has organized itself, outside circumstances may change. New technologies come on the scene, markets shift, interest rates fluctuate, consumers’ tastes change, and the company must enter a new phase of life. In order to stay in sync with the outside world, it must be able to alter its marketing strategy, its product range, its organizational form, and where and how it does its manufacturing. And once a company has adapted to a new environment, it is no longer the organization it used to be; it has evolved. That is the essence of learning.”

Arie de Geus (1930) Dutch businessman

Cited in: Richard C. Huseman, Jon P. Goodman (1998), Leading with Knowledge: The Nature of Competition in the 21st Century. SAGE Publications, p. 72.
The Living Company, 1997

Life, People, World, Idea

“I have seen here [in London] a play on Faust, the most diabolic thing imaginable. The Mephistopheles is a masterpiece of caricature and intelligence. It is Goethe's 'Faust', but adapted; the principle features are preserved. They have made it into an opera mixed with comedy and with everything that is most sombre. The scene in the church is given with the priest's chanting and the organ in the distance. Impossible to carry an effect further, in the theater.”

Eugène Delacroix (1798–1863) French painter

Quote in a letter (written in London, England) to J. B. Pierret, 18 June 1825; as quoted in Letters of the great artists – from Blake to Pollock, Richard Friedenthal, Thames and Hudson, London, 1963, p. 67
1815 - 1830

Imagination, Intelligence

“I have started work on a modern subject, a scene on the barricades… I may not have fought for my country but at least I shall have painted for her.. [quote is referring to his famous painting 'Liberty Leading the People', 1830]”

Eugène Delacroix (1798–1863) French painter

Quote in an unpublished letter to Delacroix' brother, 18 October 1830, but mentioned by M. Sérullaz; as quoted in Eugene Delacroix – selected letters 1813 – 1863, ed. and translation Jean Stewart, art Works MFA publications, Museum of Fine Art Boston, 2001, p. 13
1815 - 1830

People, Quotes, Painting, Country

“[T]here suddenly appeared on the scene Precious Virtue. Though only a trifle older than Black Jade, she showed a tact and understanding far beyond her years. She was completely unspoiled, always ready to please and enter into the spirit of the occasion and always kind to the servants and handmaids. In contrast, Black Jade was inclined to haughtiness and held herself aloof. Thus in a short time, Precious Virtue won the hearts of all, and Black Jade could not help feeling a little jealous.”

Wang Chi-chen (1899–2001)

Source: Dream of the Red Chamber (1958), p. 38

Feeling, Understanding, Appearance, Time

“Triteness of content has not necessarily hurt ideologies in the past. There are very few original or profound ideologies on the political scene.”

Brian Reynolds Myers (1963) American professor of international studies

2010s, Interview with Chad O'Carroll (2014)

Past, Hurt

“I’m not particularly fond of watching myself act. I think because my roots are in the stage that the joy for me is the act of doing it. The joy for me is not sitting down and watching me do it. I’m so critical of myself. I’d sit and watch myself in a scene, maybe one in which I’m just in the background, and think, “What are you doing back there, Rene? Why are you doing that? Why didn’t you just stand still? Shut up. What’s the matter with you?””

René Auberjonois

Catching Up with DS9’s Rene Auberjonois http://www.startrek.com/article/catching-up-with-ds9undefineds-rene-auberjonois-part-1 (June 7, 2011)

Thinking, Joy

“I am very pleased to see Blair leaving 10 Downing Street. Really, this man caused the greatest humiliation to the Arabs and Muslims, besides George Bush – and maybe even more than him. He is the only one in the Western world who supported Bush's wars in the Arab region. It was Tony Blair who encouraged the Americans to invade Iraq, and to wage the current war in it. This man employed lies, deceit, and deception. He discovered the British people and the entire world. […]How can you reward this man by appointing him envoy to the Middle East? It is like a criminal who returns to the scene of the crime. You are sending Blair back to the scene of his crime. This is a problem. He should be pelted with rotten eggs and tomatoes, rather than receive this honor, because he destroyed us, and he hates us, as Arabs and Muslims.”

Abd al-Bari Atwan (1950) Palestinian journalist

" Abd Al-Bari Atwan, Editor-in-Chief of Al-Quds Al-Arabi Newspaper: If Iranian Missiles Hit Israel, I Will Dance in Trafalgar Square http://www.memritv.org/clip_transcript/en/1506.htm", video clip http://switch5.castup.net/frames/20041020_MemriTV_Popup/video_480x360.asp?ai=214&ar=1506wmv&ak=null, 27 June 2007.

Hate, War, People, World

“My first exposure to Batman as a character was Batman the TV series. But honestly, I didn’t know it was supposed to be a parody or campy. I thought it was the coolest thing I’d ever seen. Of course, I was 5 at the time. But all in one fell swoop, I became an instant super hero fan. Later on, as I got older and started reading more comics and getting into the super hero scene, I realized that the Batman show was kind of a comedy. I was reading Neal Adams comics and thinking, "Batman is kind of cooler than that show, he’s kind of scary and mysterious." So my perception of Batman changed over time, and then I went through the periods with Frank Miller and the Tim Burton movies. So now I’ve got these warring Batmans in my head. I still love the Adam West/Batman show. I still love the Neal Adams take on Batman comics. I still love The Dark Knight. All of these things totally contradict each other, and yet it’s fine to me. I’ve said it over and over again, Batman as a character is such a strong concept, he’s the kind of character that you can take him in any number of ways and it still feels right.”

Bruce Timm (1961) Animator

ruce Timm Interview http://www.animationmagazine.net/home-entertainment/batman-under-the-red-hood-clip-and-bruce-timm-interview/ (June 25, 2010)

Love, War, Way, Feeling

“The dominant, almost general, idea of revolution — particularly the Socialist idea — is that revolution is a violent change of social conditions through which one social class, the working class, becomes dominant over another class, the capitalist class. It is the conception of a purely physical change, and as such it involves only political scene shifting and institutional rearrangements. Bourgeois dictatorship is replaced by the "dictatorship of the proletariat" — or by that of its "advance guard," the Communist Party. Lenin takes the seat of the Romanovs, the Imperial Cabinet is rechristened Soviet of People's Commissars, Trotsky is appointed Minister of War, and a labourer becomes the Military Governor General of Moscow. That is, in essence, the Bolshevik conception of revolution, as translated into actual practice.”

Emma Goldman book My Disillusionment in Russia

My Disillusionment in Russia (1923)

War, People, Idea, Change

“I used to be able to summon up scenes at will, but now aging memory is so busy weeding its own garden that, promiscuously, it pulls up roses as well as crabgrass.”

Gore Vidal (1925–2012) American writer

Source: 1990s, Palimpsest : A Memoir (1995), Ch. 12: The Guest of the Blue Nuns, p. 162

Age, Business, Memory

“England has the most sordid literary scene I've ever seen. They all meet in the same pub. This guy's writing a foreword for this person. They all have to give radio programs, they have to do all this just to scrape by. They're all scratching each other's backs.”

William S. Burroughs (1914–1997) American novelist, short story writer, essayist, painter, and spoken word performer

Forbes (2 April 2001), p. 172

Guy, Personality

“I could have never done it if David [Lynch] wasn’t a friend. He was very protective of me, like a big brother—he always has been. When it comes to Wild at Heart, if we had a love scene, everyone was very respectful… There’s no getting it wrong. Daring to go too extreme or too subtle or too anything—he requires it all of you and it’s all such fun and there’s no judgment on a set with David—ever. Except when I bring bottles of water on a set; he hates that.”

Laura Dern (1967) American actress, director, producer

As quoted in "Laura Dern on David Lynch" by Daniel Nemet-Nejat, Moviemaker, Moviemaker.com (23 January 2007) https://www.moviemaker.com/archives/moviemaking/directing/articles-directing/dern-on-lynch-3393/

Love, Hate, Water, Heart

“Yours of July 27 is received. It confirms the accounts we receive from others that the infractions of the embargo in Maine and Massachusetts are open. I have removed Pope, of New Bedford, for worse than negligence. The collector of Sullivan is on the totter. The Tories of Boston openly threaten insurrection if their importation of flour is stopped. The next post will stop it. I fear your Governor [Sullivan] is not up to the tone of these parricides, and I hope on the first symptom of an open opposition of the law by force you will fly to the scene, and aid in suppressing any commotion.”

Thomas Jefferson (1743–1826) 3rd President of the United States of America

Letter to General Henry Dearborn, Secretary of War (August 9, 1808) in regards to enforcing the American embargo.
1800s, Second Presidential Administration (1805-1809)

Fear, Law, Hope, Flying

“Ye subterranean gods! whose awful sway
The gliding ghosts and silent shades obey:
O Chaos, hear! and Phlegethon profound!
Whose solemn empire stretches wide around!
Give me, ye great tremendous powers! to tell
Of scenes and wonders in the depths of Hell;
Give me your mighty secrets to display
From those black realms of darkness to the day.”

Christopher Pitt (1699–1748) English poet

Book VI, line 371
The Æneid of Virgil (1740)

God, Secret, Hell

“Her point of view about student work was that of a social worker teaching finger-painting to children or the insane.
I was impressed with how common such an attitude was at Benton: the faculty—insofar as they were real Benton faculty, and not just nomadic barbarians—reasoned with the students, “appreciated their point of view”, used Socratic methods on them, made allowances for them, kept looking into the oven to see if they were done; but there was one allowance they never under any circumstances made—that the students might be right about something, and they wrong. Education, to them, was a psychiatric process: the sign under which they conquered had embroidered at the bottom, in small letters, Canst thou not minister to a mind diseased?—and half of them gave it its Babu paraphrase of Can you wait upon a lunatic? One expected them to refer to former students as psychonanalysts do: “Oh, she’s an old analysand of mine.” They felt that the mind was a delicate plant which, carefully nurtured, judiciously left alone, must inevitably adopt for itself even the slightest of their own beliefs.
One Benton student, a girl noted for her beadth of reading and absence of coöperation, described things in a queer, exaggerated, plausible way. According to her, a professor at an ordinary school tells you “what’s so”, you admit that it is on examination, and what you really believe or come to believe has “that obscurity which is the privilege of young things”. But at Benton, where education was as democratic as in “that book about America by that French writer—de, de—you know the one I mean”; she meant de Tocqueville; there at Benton they wanted you really to believe everything they did, especially if they hadn’t told you what it was. You gave them the facts, the opinions of authorities, what you hoped was their own opinion; but they replied, “That’s not the point. What do you yourself really believe?” If it wasn’t what your professors believed, you and they could go on searching for your real belief forever—unless you stumbled at last upon that primal scene which is, by definition, at the root of anything….
When she said primal scene there was so much youth and knowledge in her face, so much of our first joy in created things, that I could not think of Benton for thinking of life. I suppose she was right: it is as hard to satisfy our elders’ demands of Independence as of Dependence. Harder: how much more complicated and indefinite a rationalization the first usually is!—and in both cases, it is their demands that must be satisfied, not our own. The faculty of Benton had for their students great expectations, and the students shook, sometimes gave, beneath the weight of them. If the intellectual demands were not so great as they might have been, the emotional demands made up for it. Many a girl, about to deliver to one of her teachers a final report on a year’s not-quite-completed project, had wanted to cry out like a child, “Whip me, whip me, Mother, just don’t be Reasonable!””

Randall Jarrell book Pictures from an Institution

Source: Pictures from an Institution (1954) [novel], Chapter 3, pp. 81–83

Life, Children, Books, Youth

“On the silverscreen
He melts my foolish heart in every single scene
Although I'm quite aware that here and there are traces of the cad
About the boy”

Noel Coward (1899–1973) English playwright, composer, director, actor and singer

Mad About the Boy (1932)

Boy, Heart

“She turned out to be the wife of a man who was then the prime minister of a major country. I'd heard stories about this lady, but I never thought much of them until that night. We met at the house of the friend who'd phoned me. After we'd all chatted for a while in the living room, the four of us who already knew each other drifted out to the kitchen, leaving Ben and Madame X in the living room to get better acquainted. Which they did. In fact, when we drifted back in, about ten minutes later, she and Ben were involved in an incredibly torrid scene on the couch. I remember standing there and thinking to myself, "Well, Donald, you're not in Queens anymore."”

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

Trump: Surviving at the Top (1990), p. 52
1990s

Thinking, Housing, Night, Country

“I am dying, but without expectation of a speedy release. Is it not strange that very recently by-gone images, and scenes of early life, have stolen into my mind, like breezes blown from the spice-islands of Youth and Hope — those twin realities of this phantom world! I do not add Love, — for what is Love but Youth and Hope embracing, and so seen as one? I say realities; for reality is a thing of degrees, from the Iliad to a dream.”

Samuel Taylor Coleridge (1772–1834) English poet, literary critic and philosopher

10 July 1834
Table Talk (1821–1834)

Love, Life, Youth, World

“A morbid pleasure nourished, tracing here
An emblem of his own unfruitful life:
And, lifting up his head, he then would gaze
On the more distant scene,—how lovely 'tis
Thou seest,—and he would gaze till it became
Far lovelier, and his heart could not sustain
The beauty, still more beauteous! Nor, that time,
When nature had subdued him to herself,
Would he forget those Beings to whose minds,
Warm from the labours of benevolence,
The world and human life appeared a scene
Of kindred loveliness: then he would sigh,
Inly disturbed, to think that others felt
What he must never feel: and so, lost Man!
On visionary views would fancy feed,
Till his eye streamed with tears. In this deep vale
He died,—this seat his only monument.”

William Wordsworth (1770–1850) English Romantic poet

Lines (1795)

Love, Life, Pleasure, World

“It was Italian playwright and screenwriter Ennio Flaiano who first spoke to Fellini of Fernando Pessoa during their collaboration on I Vitelloni (1953). Fellini claimed, however, that it was not until he lunched with Anthony Burgess in the mid 1970s (when the British writer owned a country house in Bracciano north of Rome) that he began reading the Portuguese poet in earnest. This is not to suggest that Pessoa influenced Fellini in any direct way but simply to note a genial coincidence embedded within two autobiographical masterpieces. The first quotation is from Pessoa’s O Livro do desassossego: ‘These are my Confessions, and if in them I say nothing, it’s because I have nothing to say.’ The second is from Fellini’s Otto e mezzo (1963) during the crucial night scene at the base of the scaffolding when Guido confesses to Rosella, “I have really nothing to say in my film. But I want to say it anyway.” Suddenly, the disparate obsessions of these two great Mediterranean minds seem to fold into one another, if only for an instant, like the sounds of vibrating wires touched simultaneously. Whatever the ultimate significance may be, it amuses me to think that textual coincidences of this nature are proof of the brotherhood of artists.”

Damian Pettigrew Canadian filmmaker

On Fellini and Fernando Pessoa
Federico Fellini: Sou um Grande Mentiroso (2008)

Way, Nature, Thinking, Reading

“The first time Return of the Jedi was released I felt it did not have that much impact and the part of Oola seemed quite insignificant to the film although after saying that it was the opposite because her setting the scene up for Princess Leia. But the second time, I still can't believe the popularity the impact it has had on society, plus not just our generation but all the people that have been born since the beginning of Star Wars up until now.”

Femi Taylor British writer

Q&A with Femi Taylor http://www.lucasfan.com/interviews/femitaylor.html (January 2, 1999)

War, People, Star, Time

“Without doubt the most dangerous devices for active defense among the Dinosauria emerged in Triceratops. The scene has been portrayed in paintings, drawings, and illustrations hundreds of times, but it remains thrilling. Tyrannosaurus, the greatest dinosaur toreador, confronts Triceratops, the greatest set of dinosaur horns. No matchup between predator and prey has ever been more dramatic. It's somehow fitting that those two massive antagonists lived out their co-evolutionary belligerence through the very last days of the very last epoch in the Age of Dinosaurs. Tyrannosaurus stood over twenty feet tall when fully erect, and a large adult was as heavy as a small elephant - five tons. No predatory dinosaur, no predatory land animal of any sort, had more powerful jaws. Withstanding a Tyrannosauruss attack required either tanklike armor – the approach taken by Ankylosaurus”

Robert T. Bakker book The Dinosaur Heresies

or most powerful defensive weapons - the approach taken by Triceratops.
The Dinosaur Heresies: A Revolutionary View of Dinosaurs (1986), Longman Scientific & Technical, p. 240-241
The Dinosaur Heresies (1986)

Age, Time, Animals, Drawing

“I did not hate the author of my misfortunes — truth and justice acquit me of that; I rather pitied the hard destiny to which he seemed condemned. But I thought with unspeakable loathing of those errors, in consequence of which every man is fated to be, more or less, the tyrant or the slave. I was astonished at the folly of my species, that they did not rise up as one man, and shake off chains so ignominious, and misery so insupportable. So far as related to myself, I resolved — and this resolution has never been entirety forgotten by me — to hold myself disengaged from this odious scene, and never fill the part either of the oppressor or the sufferer.”

William Godwin book Things as They Are; or, The Adventures of Caleb Williams

Caleb Williams (1794)

Hate, Fate, Truth, Justice

“Those who dumb down the news, trivialize the news with in-studio shouting matches passing for debate, those who tart up the news with celebrity gossip, scandal and sensationalism are playing right into the hands of those that stand to gain the most from the news being seen as irrelevant and trivial and no more or less worth your attention than the next episode of 'American Idol.' […] I worry that if it becomes no more than a reality show, something that could be scripted and rigged behind the scenes without anyone really getting upset about it, that our freedom of the press will become another one of those constitutionally granted rights that can be watered down and eventually taken away from us.”

Dan Rather (1931) Journalist, Anchor

Speech 3 February 2011 at San Antonio College, as quoted in Jeanne Jakle, "Rather warns media is in 'state of crisis'" http://www.mysanantonio.com/news/article/Rather-warns-media-is-in-state-of-crisis-995904.php, San Antonio Express-News, 4 February 2011.

Reality, Freedom, Water

“The idea for [his sculpture] 'The Warrior' came to me at the end of 1952 or very early in 1953. It was evolved from a pebble I found on the seashore in the summer of 1952, and which reminded me of the stump of a leg, amputated at the hip. Just as Leonardo says somewhere in his notebooks that a painter can find a battle scene in the lichen marks on a wall, so this gave me the start of The Warrior idea. First I added the body, leg and one arm and it became a wounded warrior, but at first the figure was reclining. A day or two later I added a shield and altered its position and arrangement into a seated figure and so it changed from an inactive pose into a figure which, though wounded, is still defiant... The head has a blunted and bull-like power but also a sort of dumb animal acceptance and forbearance of pain... The figure may be emotionally connected (as one critic has suggested) with one’s feelings and thoughts about England during the crucial and early part of the last war. The position of the shield and its angle gives protection from above. The distance of the shield from the body and the rectangular shape of the space enclosed between the inside surface of the shield and the concave front of the body is important... This sculpture is the first single and separate male figure that I have done in sculpture and carrying it out in its final large scale was almost like the discovery of a new subject matter; the bony, edgy, tense forms were a great excitement to make... Like the bronze 'Draped Reclining Figure' of 1952-3 I think 'The Warrior' has some Greek influence, not consciously wished…”

Henry Moore (1898–1986) English artist

Quote from Moore's letter, (15 Jan. 1955); as cited in Henry Moore on Sculpture: a Collection of the Sculptor's Writings and Spoken Words, ed. Philip James, MacDonald, London 1966, p. 250
1940 - 1955

Pain, War, Feeling, Idea

“Comrades of the 'Boys in Blue' and fellow-citizens of New York. I cannot look upon this great assemblage and these old veterans that have marched past us, and listen to the words of welcome from our comrade who has just spoken, without remembering how great a thing it is to live in this Union and be a part of it. [Applause. ] This is New York; and yonder, toward the Battery, more than a hundred years ago, a young student of Columbia College was arguing the ideas of the American Revolution and American union against the un-American loyalty to monarchy, of his college president and professors. By and by, he went into the patriot army, was placed on the staff of Washington, [cheers] to fight the battles of his country, [cheers] and while in camp, before he was twenty-one years old, upon a drum-head he wrote a letter which contained every germ of the Constitution of the United States. [Applause. ] That student, soldier, statesman, and great leader of thought, Alexander Hamilton, of New York, made this Republic glorious by his thinking, and left his lasting impress upon this the foremost State of the Union. [Applause. ] And here on this island, the scene of his early triumphs, we gather tonight, soldiers of the new war, representing the same ideas of union, having added strength and glory to the monument reared by the heroes of the Revolution.”

James A. Garfield (1831–1881) American politician, 20th President of the United States (in office in 1881)

1880s, Speech to the 'Boys in Blue' (1880)

War, Boy, Idea, Thinking

“For the road to world peace and freedom is still long, and there are burdens which only full partners can share — in supporting the common defense, in expanding world trade, in aligning our balance of payments, in aiding the emergent nations, in concerting political and economic policies, and in welcoming to our common effort other industrialized nations, notably Japan, whose remarkable economic and political development of the 1950's permits it now to play on the world scene a major constructive role.”

John F. Kennedy (1917–1963) 35th president of the United States of America

1963, Third State of the Union Address

World, Peace, Support, Effort

“I tour a bit in America and a lot in Europe, Holland especially, where they have this forward-looking music scene because they got through the barriers 15 years ago. They gobble up the things I do. I go to the Far East - I like working with the orchestra in Singapore - but my favourite places tend to be the ones where it's more than turning up and doing a big concert. Next month I go to the Sydney Festival, where I've persuaded them to do the Lou Harrison concerto. As penance, though I don't mind it, I have to play the Gershwin concerto in the first half. And I hope to return year after year to South Africa, where I've been with the National Symphony Orchestra into Soweto. Education work is being done there for the first time. Previously they had never bothered to find new audiences, and now they are staring into an abyss which we may face too. Events there are a fast-forward version of what could happen here.”

Joanna MacGregor (1959) British musician

The Times, 15/12/1998
Musician's life

Education, Hope, Music, Time

“I’m just really grateful and lucky that I get to keep existing in this business and existing by way of working as opposed to just being around the scene. So I love the process of making all of this. Being on set at the Sesame Workshop was one of the great things of last year for me. Getting just to work with Joss Whedon [on Dr. Horrible] for six days renegade-style was just unbelievable. Every week getting these new scripts and seeing what Barney Stinson gets to say and do is like a constant Christmas present. Things are swell.”

Neil Patrick Harris (1973) American actor and host

AfterElton.com; September 11th, 2008.

Love, Way, Business, Christmas

“Since Sputnik and the satellites, the planet is enclosed in a manmade environment that ends "Nature" and turns the globe into a repertory theater to be programmed. Shakespeare at the Globe mentioning "All the world's a stage, and all the men and women merely players" (As You Like It, Act II, Scene 7) has been justified by recent events in ways that would have struck him as entirely paradoxical. The results of living inside a proscenium arch of satellites is that the young now accept the public spaces of the earth as role-playing areas. Sensing this, they adopt costumes and roles and are ready to "do their thing" everywhere."”

Marshall McLuhan (1911–1980) Canadian educator, philosopher, and scholar-- a professor of English literature, a literary critic, and a …

Source: 1970s, From Cliché to Archetype (1970), p.9-10

Women, Men, World, Way

“There is an upstart crow, beautified with our feathers, that with his tiger's heart wrapped in a player's hide supposes he is as well able to bombast out a blank verse as the best of you: and being an absolute Johannes Factotum, is in his own conceit the only Shake-scene in a country.”

Robert Greene (dramatist) (1558–1592) English author

Groatsworth of Wit; cited from William Shakespeare (ed. Stephen Orgel and A. R. Braunmuller) The Complete Works (Harmondsworth: Penguin, 2002) p. xlvii.
Probably the earliest reference to Shakespeare as a figure in the theatrical world.

Heart, Country

“Being fresh out of college, I found myself in the typically feminine dilemma of carving out for myself in a male world a way of life appropriate to a young woman of taste, cultivation and sensitivity. There must be nothing crass—like work. However, a girl must survive. So, after a cool appraisal of the social scene, I finally hit upon an excellent-paying occupation, challenging to the ingenuity, dealing on one's own terms with people and affording independence, flexible hours, great stability and, most important, a large amount of leisure time, an occupation highly appropriate to female sensibilities. I contemplate my good fortune as I begin work for the day: "Pardon me, Sir, do you have fifteen cents?"”

Valerie Solanas (1936–1988) American radical feminist and writer. Attempted to assassinate Andy Warhol.

"A Young Girl's Primer" (1966)

Life, People, World, Way

“Why, alas! is life decreed
Full of pain and full of sorrow?
All uncertain as it is,
Can we rest upon to-morrow?
Why should blessings yet in store,
Hold us still in expectation?
Leading thro' succeeding sorrows,
By some fond anticipation:
'Tis to give a tender interest
To the scenes in which we're moving:
While those hopes so often blasted,
Sensual pleasures are reproving.”

Elizabeth Bath (1776–1844) English poet

"An Effusion", from Poems, on Various Occasions (1806)

Life, Pain, Pleasure, Hope

“They say use it, channel it. Do it, like there will be a sign, be an artist, you're so creative, do anything, you've got to do it, use it. Then, things like, and you've got to collect yourself, too. I mean, you know, make your hair more about yourself, self-respect. But I mean, ridiculous. You know why my doctor got so mad this time? He said, that scene, remember in the LSD bit, the only time I had it in that, sleeping with what's-his-name and having that sex bit go on while, it was very strange-mannered, but I certainly wasn't mortified. I mean, I humanly might be a little mortified knowing that a thousand other human beings would think it mortifying, but basically, me. So he thought that was a total lack of self-respect, which is wrong. Totally wrong.”

Edie Sedgwick (1943–1971) Socialite, actress, model

Edie : Girl On Fire (2006)

Sex, Thinking, Sleep, Time

“No, not really. I’m a singer. Listen, I never meant to make money. I never wanted it. I’m a singer, man. When I put out a record called "Be-Bop-A-Lula", my only thought was to just make a living singing. But all of a sudden, I was getting $1500 a night. And you take a 19-year old boy and put him in those circumstances … I had a Cadillac and all. It was a bad scene. It shouldn’t have happened on that first record.”

Gene Vincent (1935–1971) American musician

Money, Boy, Singing, Night

“Circle' was published at last [constructivist manifesto, in 1937 - with Naum Gabo, Ben Nicholson a. o. ]. Mondrian has made his studio opposite so very beautiful, and his company was always inspiring, as it had been in Paris when we used to visit him. After a while he really seemed to our domestic scene. His studio and Ben’s [the sculptor Ben Nicholson; Barbara was his wife then] were most austere, but my studio was a jumble of children, rocks, sculptures, trees, importunate flowers and washing.”

Barbara Hepworth (1903–1975) English sculptor

Source: 1961 - 1975, Barbara Hepworth, A Pictorial autobiography', 1970, p. 283

Children, Beauty, Flowers, Tree

“Raised an Army brat in a constantly changing scene, Kitsy has always been at ease in any company. While she enjoys formal affairs, she has such an air of informality that in her corner of the room ritual is soon dispensed with. Kitsy was much impressed with the wives of Vietnamese officials. If the Vietnamese men, she liked to say, were half as strong as their women, the country would have no problem. She enjoyed their sense of humor, their propensity for earthly jokes. When she had difficulty deciphering the mixture of languages and getting to the point, one or another of the ladies would take her aside and explain. Kitsy shares some of my lack of affinity for foreign languages; her attempts at French drew the same wry smiles as my attempts at Vietnamese. Kitsy's sense of humor has brightened many an occasion. At a ceremony unveiling my official superintendent's portrait at West Point, the master of ceremonies asked her to say a few words. "This is the second time I have seen Westy unveiled," said Kitsy. "The first time was on our wedding night."”

William Westmoreland book A Soldier Reports

Source: A Soldier Reports (1976), p. 263.

Women, Men, Smile, Problem

“Act III., Scene V. — (Fiametta).”

Agnolo Firenzuola (1493–1543) Italian poet and litterateur

Chi mal si marita non esce mai di fatica.
Translation: He who makes a bad marriage never escapes from his troubles.
Translation reported in Harbottle's Dictionary of quotations French and Italian (1904), p. 266.
I Lucidi (published 1549)

“Things That Lose by Being Painted
Pinks, cherry blossoms, yellow roses. Men or women who are praised in romances as being beautiful.Things That Gain by Being Painted
Pines. Autumn fields. Mountain villages and paths. Cranes and deer. A very cold winter scene; an unspeakably hot summer scene.”

Sei Shonagon (966–1025) Japanese author and a court lady

Source: The Pillow Book of Sei Shōnagon (1002), p. 138

Women, Men, Mountain, Autumn

“The storm clouds are gathering over the European scene. Our defences have been neglected. Danger is in the air…yes, I say in the air. The mighty discontented nations are reaching out with the strong hands to regain what they have lost; nay, to gain a predominance which they have never had. Is this, then, the time to plunge our vast dependency of India into the melting-pot?”

Winston S. Churchill (1874–1965) Prime Minister of the United Kingdom

BBC broadcast (29 January 1935) against the Indian Home Rule Bill, quoted in Martin Gilbert, Prophet of Truth: Winston S. Churchill, 1922–1939 (London: Minerva, 1990), p. 596
The 1930s

Strong, Time, Dependency

Quotes about scene page 2

Quotes about scene
page 2