Quotes about scene
page 7

Hans Haacke photo

“I have a particular interest in corporations that give themselves a cultural aura and are in other areas suspect. Philip Morris presents itself in New York as the lover of culture while it turns out that if you look behind the scenes, it is also a prime funder of Jesse Helms, someone who is very hostile to the arts.”

Hans Haacke (1936) conceptual political artist

Hans Haacke in: Roberta Smith "A Giant artistic Gibe at Jesse Helms," in New York Times, April 20, 1990; Republished in: The New York Times Guide to the Arts of the 20th Century: 1900-1929, (2002) p. 2929
1990s

Jane Austen photo
Margaret Hughes photo
Jonathan Swift photo
John Marshall Harlan photo
Annie Proulx photo
Umberto Boccioni photo

“.. the number of the engine [of the train], its profile shown in the upper part of the picture, its wind-cutting fore-part in the center, symbolical of parting, indicates the features of the scene that remain indelibly impressed upon the mind”

Umberto Boccioni (1882–1916) Italian painter and sculptor

of the viewer
Quote from Inventing Futurism: The Art and Politics of Artificial Optimism, by Christine Poggi, Princeton University Press, 2009, p. 21
a note on his tryptich painting, he made late in 1911, containing the canvasses 'States of Mind II', 'The farewells', 'Those Who go Those who Stay'.
1911

Roger Manganelli photo
Umberto Boccioni photo
James Beattie photo
Osama bin Laden photo

“The events that affected my soul in a direct way started in 1982 when America permitted the Israelis to invade Lebanon and the American Sixth Fleet helped them in that. This bombardment began and many were killed and injured and others were terrorised and displaced.
I couldn't forget those moving scenes, blood and severed limbs, women and children sprawled everywhere. Houses destroyed along with their occupants and high rises demolished over their residents, rockets raining down on our home without mercy. The situation was like a crocodile meeting a helpless child, powerless except for his screams. Does the crocodile understand a conversation that doesn't include a weapon? And the whole world saw and heard but it didn't respond. In those difficult moments many hard-to-describe ideas bubbled in my soul, but in the end they produced an intense feeling of rejection of tyranny, and gave birth to a strong resolve to punish the oppressors. And as I looked at those demolished towers in Lebanon, it entered my mind that we should punish the oppressor in kind and that we should destroy towers in America in order that they taste some of what we tasted and so that they be deterred from killing our women and children.
And that day, it was confirmed to me that oppression and the intentional killing of innocent women and children is a deliberate American policy. Destruction is freedom and democracy, while resistance is terrorism and intolerance.
This means the oppressing and embargoing to death of millions as Bush Sr did in Iraq in the greatest mass slaughter of children mankind has ever known, and it means the throwing of millions of pounds of bombs and explosives at millions of children - also in Iraq - as Bush Jr did, in order to remove an old agent and replace him with a new puppet to assist in the pilfering of Iraq's oil and other outrages.
So with these images and their like as their background, the events of September 11th came as a reply to those great wrongs, should a man be blamed for defending his sanctuary?”

Osama bin Laden (1957–2011) founder of al-Qaeda

Full transcript of bin Ladin's speech http://www.aljazeera.com/archive/2004/11/200849163336457223.html Aljazeera, (01 Nov 2004)
2000s, 2004

Paul Krugman photo
Jacques Derrida photo
Samuel Johnson photo

“The reciprocal civility of authors is one of the most risible scenes in the farce of life.”

Samuel Johnson (1709–1784) English writer

The Life of Sir Thomas Browne (1756) http://andromeda.rutgers.edu/~jlynch/Texts/browne.html

Henri Matisse photo
John Constable photo
Raymond Poincaré photo
Neil Gaiman photo

“I don't know what it's like to be God — obviously …until that very first moment when you get to sit down and type the words in your script: INTERIOR. TARDIS. … Suddenly I got a very good idea of what it must feel like. I went: "I'm writing it now this scene in the Tardis. I'm writing it!"”

Neil Gaiman (1960) English fantasy writer

And that was amazing, it was wonderful.
On writing the script for the episode of Doctor Who, "The Doctor's Wife" (originally titled "House of Nothing"), as quoted in "Neil Gaiman reveals power of writing Doctor Who" by Tim Masters at BBC News (24 May 2010) http://www.bbc.co.uk/news/10146657

Halle Berry photo

“When a young woman tells me that she wants to become and actor, I say, 'No, be a writer. Or go to business school and learn how to run a studio.' The only real change will come from behind the scenes.”

Halle Berry (1966) American actress

On gender issues in the entertainment industry — reported in Geoff Pevere (April 13, 2007) "Berry almost chose bylines over marquees", The Toronto Star, p. D06.

Camille Paglia photo
Jeff Morrow photo
Giorgio de Chirico photo
L. Frank Baum photo

“The scenery and costumes of 'The Wizard of Oz' were all made in New York — Mr. Mitchell was a New York favorite, but the author was undoubtedly a Chicagoan, and therefore a legitimate butt for the shafts of criticism. So the critics highly praised the Poppy scene, the Kansas cyclone, the Scarecrow and the Tin Woodman, but declared the libretto was very bad and teemed with 'wild and woolly western puns and forced gags.' Now, all that I claim in the libretto of 'The Wizard of Oz' is the creation of the characters of the Scarecrow and the Tin Woodman, the story of their search for brains and a heart, and the scenic effects of the Poppy Field and the cyclone. These were a part of my published fairy tale, as thousands of readers well know. I have published fifteen books of fairy tales, which may be found in all prominent public and school libraries, and they are entirely free, I believe, from the broad jokes the New York critics condemn in the extravaganza, and which, the New York people are now laughing over. In my original manuscript of the play were no 'gags' nor puns whatever. But Mr. Hamlin stated positively that no stage production could succeed without that accepted brand of humor, and as I knew I was wholly incompetent to write those 'comic paper side-splitters' I employed one of the foremost New York 'tinkerers' of plays to write into my manuscript these same jokes that are now declared 'wild and woolly' and 'smacking of Chicago humor.' If the New York critics only knew it, they are praising a Chicago author for the creation of the scenic effects and characters entirely new to the stage, and condemning a well-known New York dramatist for a brand of humor that is palpably peculiar to Puck and Judge. I am amused whenever a New York reviewer attacks the libretto of 'The Wizard of Oz' because it 'comes from Chicago.”

L. Frank Baum (1856–1919) Children's writer, editor, journalist, screenwriter

Letter to "Music and the Drama", The Chicago Record-Herald (3 February 1903)
Letters and essays

Bernice King photo

“When I saw the funeral scene, I just broke down. I ran out of the cabin into the woods, and for nearly 2-1/2 hours, I just cried: "Why, God, did You take him?"”

Bernice King (1963) American minister, daughter of Martin Luther King, Jr.

Reflection on experience at age sixteen in "Faces of Faith: A Connection Magazine Anthology" (2006), p. 82.

W. H. Auden photo
Willa Cather photo
Pearl S.  Buck photo
Wendy Doniger photo
Sueton photo

“In the Pontic triumph one of the decorated wagons, instead of a stage-set representing scenes from the war, like the rest, carried a simple three-word inscription: I CAME, I SAW, I CONQUERED! This referred not to the events of the war [against Pontus], like the other inscriptions, but to the speed with which it had been won.”
Pontico triumpho inter pompae fercula trium verborum praetulit titulum VENI·VIDI·VICI non acta belli significantem sicut ceteris, sed celeriter confecti notam.

Source: The Twelve Caesars, Julius Caesar, Ch. 37

“One of my earliest recollections in life was being taken for holidays to the little farm where my father had been born. … The cows "gave" milk, the hens "gave" eggs … but I couldn't for the life of me see what the pigs "gave", and they seemed … such friendly creatures, always glad to see me, and grateful for almost anything that was thrown to them in the sty. … I still have vivid recollections of the whole process from start to finish, including all the screams of course, which were only feet away from where this pig's companion still lived. And then, when the pig had finally expired, the women came out, one after another, with buckets of this scalding water, and the body of the pig was scraped – all the hairs were taken away. The thing that shocked me, along with the chief impact of the whole setup, was that my Uncle George, of whom I thought very highly, was part of the crew, and I suppose at that point I decided that farms, and uncles, had to be re-assessed. They weren't all they seemed to be, on the face of it, to a little, hitherto uninformed boy. And it followed that this idyllic scene was nothing more than Death Row. A Death Row where every creature's days were numbered by the point at which it was no longer of service to human beings.”

Donald Watson (1910–2005) English vegan activist

Interview with George D. Rodger (15 December 2002), in VeganSociety.com https://www.vegansociety.com/sites/default/files/DW_Interview_2002_Unabridged_Transcript.pdf.

Hideo Kojima photo
Charlotte Brontë photo
Georges Bernanos photo
Margaret Fuller photo
Roger Ebert photo

“There is a scene in this film where a character is defecated on by several people at the same time, and I dunno … I didn't enjoy it.”

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

Source: Review http://www.rogerebert.com/reviews/tim-and-erics-billion-dollar-movie-2012 of Tim and Eric's Billion Dollar Movie (29 February 2012)

Rani Mukerji photo
John Cowper Powys photo
David Dixon Porter photo
Milan Kundera photo
Aymeric Caron photo
Frederick Douglass photo

“The world knows that last Monday a meeting assembled to discuss the question: "How Shall Slavery Be Abolished?" The world also knows that that meeting was invaded, insulted, captured by a mob of gentlemen, and thereafter broken up and dispersed by the order of the mayor, who refused to protect it, though called upon to do so. If this had been a mere outbreak of passion and prejudice among the baser sort, maddened by rum and hounded on by some wily politician to serve some immediate purpose, - a mere exceptional affair, - it might be allowed to rest with what has already been said. But the leaders of the mob were gentlemen. They were men who pride themselves upon their respect for law and order. These gentlemen brought their respect for the law with them and proclaimed it loudly while in the very act of breaking the law. Theirs was the law of slavery. The law of free speech and the law for the protection of public meetings they trampled under foot, while they greatly magnified the law of slavery. The scene was an instructive one. Men seldom see such a blending of the gentleman with the rowdy, as was shown on that occasion. It proved that human nature is very much the same, whether in tarpaulin or broadcloth. Nevertheless, when gentlemen approach us in the character of lawless and abandoned loafers, - assuming for the moment their manners and tempers, - they have themselves to blame if they are estimated below their quality.”

Frederick Douglass (1818–1895) American social reformer, orator, writer and statesman

1880s, Plea for Free Speech in Boston (1880)

David Fincher photo
Adam Goldstein photo
Rex Stout photo

“It is impossible for any Sherlock Holmes story not to have at least one marvelous scene.”

Rex Stout (1886–1975) American writer

Rex Stout, page 247
Invitation to Learning

Stanley Knowles photo
Ahmed Shah Durrani photo

“Next morning the sun revealed a horrid spectacle on the vast plain south of PAnipat. On the actual field of the combat thirty-one distinct heaps of the slain were counted, the number of bodies in each ranging from 500 upwards to 1000 and in four up to 1500 a rough total of 28,000. In addition to these, the ditch round the Maratha camp was full of dead bodies, partly the victims of disease and famine during the long siege and partly wounded men who had crawled out of the fighting to die there. West and south of PAnipat city, the jungle and the road in the line of MarAtha retreat were littered with the remains of those who had fallen unresisting in the relentless DurrAni pursuit or from hunger and exhaustion. Their number - probably three-fourths non-combatants and one-fourth soldiers - could not have been far short of the vast total of those slain in the battlefield. 'The hundreds who lay down wounded, perished from the severity of the cold.'….
'After the havoc of combat followed massacre in cold blood. Several hundreds of MarAthas had hidden themselves in the hostile city of PAnipat through folly or helplessness; and these were hunted out next day and put to the sword. According to one plausible account, the sons of Abdus Samad Khan and Mian Qutb received the DurrAni king's permission to avenge their father's death by an indiscriminate massacre of the MarAthas for one day, and in this way nearly nine thousand men perished; these were evidently non-combatants. The eyewitness Kashiraj Pandit thus describes the scene: 'Every Durrani soldier brought away a hundred or two of prisoners and slew them in the outskirts of their camp, crying out, When I started from our country, my mother, father, sister and wife told me to slay so may kafirs for their sake after we had gained the victory in this holy war, so that the religious merit of this act [of infidel slaying] might accrue to them. In this way, thousands of soldiers and other persons were massacred. In the Shah's camp, except the quarters of himself and his nobles, every tent had a heap of severed heads before it. One may say that it was verily doomsday for the MarAtha people.'….
The booty captured within the entrenchment was beyond calculation and the regiments of Khans [i. e. 8000 troopers of AbdAli clansmen] did not, as far as possible, allow other troops like the IrAnis and the TurAnis to share in the plunder; they took possession of everything themselves, but sold to the Indian soldiers handsome Brahman women for one tuman and good horses for two tumans each.' The Deccani prisoners, male and female reduced to slavery by the victorious army numbered 22,000, many of them being the sons and other relatives of the sardArs or middle class men. Among them 'rose-limbed slave girls' are mentioned.' Besides these 22,000 unhappy captives, some four hundred officers and 6000 men fled for refuge to ShujA-ud-daulah's camp, and were sent back to the Deccan with monetary help by that nawab, at the request of his Hindu officers. The total loss of the MarAthas after the battle is put at 50,000 horses, captured either by the AfghAn army or the villagers along the route of flight, two hundred thousand draught cattle, some thousands of camels, five hundred elephants, besides cash and jewellery. 'Every trooper of the Shah brought away ten, and sometimes twenty camels laden with money. The captured horses were beyond count but none of them was of value; they came like droves of sheep in their thousands.”

Ahmed Shah Durrani (1722–1772) founder of the Durrani Empire, considered founder of the state of Afghanistan

Jadunath Sarkar, Fall of the Mughal Empire, Volume II, Fourth Edition, New Delhi, 1991, p.210-11

Machado de Assis photo

“Destiny is not only a dramatist, it is also its own stage manager. That is, it sets the entrances of the characters on scene, gives them letters and other objects, and produces the off-stage noises to go with the dialogue: thunder, a carriage, a shot.”

O destino não é só dramaturgo, é também o seu próprio contra-regra, isto é, designa a entrada dos personagens em cena, dá-lhes as cartas e outros objetos, e executa dentro os sinais correspondentes ao diálogo, uma trovoada, um carro, um tiro.
Source: Dom Casmurro (1899), Ch. 73, pp. 159-60.

Tadamichi Kuribayashi photo
Ayn Rand photo
Roger Ebert photo
Ba Jin photo

“Before my eyes are many miserable scenes, the suffering of others and myself forces my hands to move. I become a machine for writing.”

Ba Jin (1904–2005) Chinese novelist

As quoted in "Literary witness to century of turmoil" in China Daily (24 November 2003)

John Quincy Adams photo

“30th [June 1841]. Morning visit from John Ross, chief of the Cherokee Nation, with Vann and Benn, two others of the delegation. Ross had written to request an interview with me for them on my appointment as Chairman of the Committee on Indian Affairs. I was excused from that service at my own request, from a full conviction that its only result would be to keep a perpetual harrow upon my feelings, with a total impotence to render any useful service. The policy, from Washington to myself, of all the Presidents of the United States had been justice and kindness to the Indian tribes—to civilize and preserve them. With the Creeks and Cherokees it had been eminently successful. Its success was their misfortune. The States within whose borders their settlements were took the alarm, broke down all the treaties which had pledged the faith of the nation. Georgia extended her jurisdiction over them, took possession of their lands, houses, cattle, furniture, negroes, and drove them out from their own dwellings. All the Southern States supported Georgia in this utter prostration of faith and justice; and Andrew Jackson, by the simultaneous operation of fraudulent treaties and brutal force, consummated the work. The Florida War is one of the fruits of this policy, the conduct of which exhibits one (un)interrupted scene of the most profligate corruption. All resistance against this abomination is vain. It is among the heinous sins of this nation, for which I believe God will one day bring them to judgement—but as His own time and by His own means.”

John Quincy Adams (1767–1848) American politician, 6th president of the United States (in office from 1825 to 1829)

Diary entry (30 June 1841)

Marianne von Werefkin photo
Umberto Boccioni photo

“Let us explain again by examples. In painting a person on a balcony, seen from inside the room do not limit the scene to what the square of the window renders visible; we try to render the sum total of visual sensations which the person on the balcony has experienced; the sun-baked throng in the street, the double row of houses which stretch to right and left, the beflowered balconies etc. This implies the simultaneity of the ambient, and, therefore, the dislocation and the dislocation and dismemberment of objects, the scattering and fusion of details, freed from accepted logic and independent from one another. In order to make the spectator live in the center of the picture, as we express it in our manifesto the picture must be the synthesis of what one remembers and what one sees. You must render the invisible which stirs lives beyond intervening obstacles, what we have on the right, or the left, or behind us, and not merely the small square of life artificially compressed, as it were, by the wings of a stage set. We have declared in our manifesto that what must be rendered is the dynamic sensation, that is to say, the particular rhythm of each object, its inclination, its movement, or more exactly, its interior force.”

Umberto Boccioni (1882–1916) Italian painter and sculptor

Boccioni is referring in this quote to the 'Manifesto of Futurist Painters' of 1910, and its core Futurist concept of dynamic sensation; p. 47.
1912, Les exposants au public', 1912

Elyse Knox photo
Slavoj Žižek photo
Jahangir photo

“I am here led to relate that at the city of Banaras a temple had been erected by Rajah Maun Singh, which cost him the sum of nearly thirty-six laks of five methkally ashrefies. The principle idol in this temple had on its head a tiara or cap, enriched with jewels to the amount of three laks ashrefies. He had placed in this temple moreover, as the associates and ministering servants of the principal idol, four other images of solid gold, each crowned with a tiara, in the like manner enriched with precious stones. It was the belief of these Jehennemites that a dead Hindu, provided when alive he had been a worshipper, when laid before this idol would be restored to life. As I could not possibly give credit to such a pretence, I employed a confidential person to ascertain the truth; and, as I justly supposed, the whole was detected to be an impudent imposture. Of this discovery I availed myself, and I made it my plea for throwing down the temple which was the scene of this imposture and on the spot, with the very same materials, I erected the great mosque, because the very name of Islam was proscribed at Banaras, and with God's blessing it is my design, if I live, to fill it full with true believers.”

Jahangir (1569–1627) 4th Mughal Emperor

Varanasi (Uttar Pradesh) , Tuzuk-i-Jahangiri, translated into English by Major David Price, Calcutta, 1906. pp. 24-25.

http://persian.packhum.org/persian/pf?file=11001040&ct=7, "Decisions Involving Urban Planning and Religious Institutions" Different translation: I made it my plea for throwing down the temple which was the scene of this imposture; and on the spot, with the very same materials, I erected the great mosque, because the very name of Islam was proscribed at Banaras, and with God’s blessing it is my design, if I live, to fill it full with true believers.

Anthony Burgess photo
Jenna Jameson photo

“To this day, I can't watch my own sex scenes.”

How to Make Love Like a Porn Star: A Cautionary Tale (2004)

Andrew Sega photo
James Frazer photo
Gabriele Münter photo
Charles Boarman photo
Larry David photo
Bill Engvall photo
Charles Dickens photo
Theodore L. Cuyler photo

“Glorious transformation! glorious translation! I seem already to behold the wondrous scene.”

Henry Melvill (1798–1871) British academic

Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 359.
Context: Glorious transformation! glorious translation! I seem already to behold the wondrous scene. The sea and the land have given up their dead! the quickened myriads have been judged according to their works. And now, an innumerable company, out of all nations and tribes and tongues, ascend with the Mediator towards the kingdom of His Father. Can it be that these, who were born children of earth, who were long enemies to God by wicked works, are to enter the bright scenes of paradise? Yes, He who leads them has washed them in His blood; He who leads them has sanctified them by His Spirit.

“It may be that we shall witness scenes surpassing in horror even those of the recent war.”

Kirby Page (1890–1957) American clergyman

Foreword p. 9
The Sword or the Cross, Which Should be the Weapon of the Christian Militant? (1921)
Context: Struggles between nations and struggles between classes we shall surely have during the coming decades. All indications point to further wars between nations. The struggle between capital and labor is daily growing in intensity.... It may be that we shall witness scenes surpassing in horror even those of the recent war.

Margaret Fuller photo

“One presence fill and floods the whole serene;
Nothing can be, nothing has ever been,
Except the one truth that creates the scene.”

Margaret Fuller (1810–1850) American feminist, poet, author, and activist

Life Without and Life Within (1859), The One In All
Context: A single thought transfuses every form;
The sunny day is changed into the storm,
For light is dark, hard soft, and cold is warm.One presence fill and floods the whole serene;
Nothing can be, nothing has ever been,
Except the one truth that creates the scene.</p

Georg Wilhelm Friedrich Hegel photo

“The first glance at History convinces us that the actions of men proceed from their needs, their passions, their characters and talents; and impresses us with the belief that such needs, passions and interests are the sole springs of action — the efficient agents in this scene of activity. Among these may, perhaps, be found aims of a liberal or universal kind — benevolence it may be, or noble patriotism; but such virtues and general views are but insignificant as compared with the World and its doings. We may perhaps see the Ideal of Reason actualized in those who adopt such aims, and within the sphere of their influence; but they bear only a trifling proportion to the mass of the human race; and the extent of that influence is limited accordingly. Passions, private aims, and the satisfaction of selfish desires, are on the other hand, most effective springs of action.”

Pt. III, sec. 2, ch. 24 Lectures on the History of History Vol 1 p. 21 John Sibree translation (1857), 1914
Lectures on the Philosophy of History (1832), Volume 1
Context: Although Freedom is, primarily, an undeveloped idea, the means it uses are external and phenomenal; presenting themselves in History to our sensuous vision. The first glance at History convinces us that the actions of men proceed from their needs, their passions, their characters and talents; and impresses us with the belief that such needs, passions and interests are the sole springs of action — the efficient agents in this scene of activity. Among these may, perhaps, be found aims of a liberal or universal kind — benevolence it may be, or noble patriotism; but such virtues and general views are but insignificant as compared with the World and its doings. We may perhaps see the Ideal of Reason actualized in those who adopt such aims, and within the sphere of their influence; but they bear only a trifling proportion to the mass of the human race; and the extent of that influence is limited accordingly. Passions, private aims, and the satisfaction of selfish desires, are on the other hand, most effective springs of action. Their power lies in the fact that they respect none of the limitations which justice and morality would impose on them; and that these natural impulses have a more direct influence over man than the artificial and tedious discipline that tends to order and self-restraint, law and morality. When we look at this display of passions, and the consequences of their violence; the Unreason which is associated not, only with them, but even (rather we might say especially) with good designs and righteous aims; when we see the evil, the vice, the ruin that has befallen the most flourishing kingdoms which the mind of man ever created, we can scarce avoid being filled with sorrow at this universal taint of corruption: and, since this decay is not the work of mere Nature, but of the Human Will — a moral embitterment — a revolt of the Good Spirit (if it have a place within us) may well be the result of our reflections.

Joshua Lawrence Chamberlain photo

“We pass now quickly from each other's sight; but I know full well that where beyond these passing scenes you shall be, there will be heaven!”

Joshua Lawrence Chamberlain (1828–1914) Union Army general and Medal of Honor recipient

The Passing of the Armies: An account of the Army of the Potomac, based upon personal reminiscences of the Fifth Army Corps (1915), "The Last Review"
Context: You in my soul I see, faithful watcher by my cot-side long days and nights together through the delirium of mortal anguish, steadfast, calm, and sweet as eternal love. We pass now quickly from each other's sight; but I know full well that where beyond these passing scenes you shall be, there will be heaven!

Jack Valenti photo

“By summer of 1966, the national scene was marked by insurrection on the campus, riots in the streets, rise in women's liberation, protest of the young, doubts about the institution of marriage, abandonment of old guiding slogans, and the crumbling of social traditions.”

Jack Valenti (1921–2007) President of the MPAA

The Voluntary Movie Rating System (2004)
Context: By summer of 1966, the national scene was marked by insurrection on the campus, riots in the streets, rise in women's liberation, protest of the young, doubts about the institution of marriage, abandonment of old guiding slogans, and the crumbling of social traditions. It would have been foolish to believe that movies, that most creative of art forms, could have remained unaffected by the change and torment in our society.
The result of all this was the emergence of a "new kind" of American movie — frank and open, and made by filmmakers subject to very few self-imposed restraints.

Michelangelo Antonioni photo

“I rarely feel the desire to reread a scene the day before the shooting. Sometimes I arrive at the place where the work is to be done and I do not even know what I am going to shoot.”

Michelangelo Antonioni (1912–2007) Italian film director and screenwriter

Cahiers du Cinema (1960)
Context: I rarely feel the desire to reread a scene the day before the shooting. Sometimes I arrive at the place where the work is to be done and I do not even know what I am going to shoot. This is the system I prefer: to arrive at the moment when shooting is about to begin, absolutely unprepared, virgin. I often ask to be left alone on the spot for fifteen minutes or half an hour and I let me thoughts wander freely.

Jonas Salk photo

“I have the impression that the new generation of young people, are coming up on the scene with a sense "ancestorhood", and with more wisdom than was evident before.”

Jonas Salk (1914–1995) Inventor of polio vaccine

The Open Mind interview (1985)
Context: I have the impression that the new generation of young people, are coming up on the scene with a sense "ancestorhood", and with more wisdom than was evident before. I think this comes about as a matter of necessity — Almost as if there is something in us that is innate, something inherent in us, that is destined for a longer term, rather than a shorter term future.

Eric Hoffer photo

“The explosive component in the contemporary scene is not the clamor of the masses but the self-righteous claims of a multitude of graduates from schools and universities. This army of scribes is clamoring for a society in which planning, regulation, and supervision are paramount and the prerogative of the educated.”

Eric Hoffer (1898–1983) American philosopher

Source: The Ordeal of Change (1963), Ch. 13: "Scribe, Writer, and Rebel"
Context: The explosive component in the contemporary scene is not the clamor of the masses but the self-righteous claims of a multitude of graduates from schools and universities. This army of scribes is clamoring for a society in which planning, regulation, and supervision are paramount and the prerogative of the educated. They hanker for the scribe's golden age, for a return to something like the scribe-dominated societies of ancient Egypt, China, and Europe of the Middle Ages. There is little doubt that the present trend in the new and renovated countries toward social regimentation stems partly from the need to create adequate employment for a large number of scribes. And since the tempo of the production of the literate is continually increasing, the prospect is of ever-swelling bureaucracies.

Albert Einstein photo

“Where the world ceases to be the scene of our personal hopes and wishes, where we face it as free beings admiring, asking, observing, there we enter the realm of Art and Science.”

Albert Einstein (1879–1955) German-born physicist and founder of the theory of relativity

Source: Attributed in posthumous publications, Albert Einstein: The Human Side (1979), p. 37 - 27 January 1921
Context: Where the world ceases to be the scene of our personal hopes and wishes, where we face it as free beings admiring, asking, observing, there we enter the realm of Art and Science. If what is seen and experienced is portrayed in the language of logic, we are engaged in science. If it is communicated through forms whose connections are not accessible to the conscious mind but are recognized intuitively as meaningful, then we are engaged in art. Common to both is love and devotion to that which transcends personal concerns and volition.

Thomas Carlyle photo

“These scenes, which the Morning Chronicle is bringing home to all minds of men,—thanks to it for a service such as Newspapers have seldom done,—ought to excite unspeakable reflections in every mind. Thirty thousand outcast Needlewomen working themselves swiftly to death; three million Paupers rotting in forced idleness, helping said Needlewomen to die: these are but items in the sad ledger of despair.”

Thomas Carlyle (1795–1881) Scottish philosopher, satirical writer, essayist, historian and teacher

1850s, Latter-Day Pamphlets (1850), The Present Time (February 1, 1850)
Context: Between our Black West Indies and our White Ireland, between these two extremes of lazy refusal to work, and of famishing inability to find any work, what a world have we made of it, with our fierce Mammon-worships, and our benevolent philanderings, and idle godless nonsenses of one kind and another! Supply-and-demand, Leave-it-alone, Voluntary Principle, Time will mend it:—till British industrial existence seems fast becoming one huge poison-swamp of reeking pestilence physical and moral; a hideous living Golgotha of souls and bodies buried alive; such a Curtius' gulf, communicating with the Nether Deeps, as the Sun never saw till now. These scenes, which the Morning Chronicle is bringing home to all minds of men,—thanks to it for a service such as Newspapers have seldom done,—ought to excite unspeakable reflections in every mind. Thirty thousand outcast Needlewomen working themselves swiftly to death; three million Paupers rotting in forced idleness, helping said Needlewomen to die: these are but items in the sad ledger of despair.

W.E.B. Du Bois photo

“We do not believe in violence, neither in the despised violence of the raid nor the lauded violence of the soldier, nor the barbarous violence of the mob, but we do believe in John Brown, in that incarnate spirit of justice, that hatred of a lie, that willingness to sacrifice money, reputation, and life itself on the altar of right. And here on the scene of John Brown’s martyrdom we reconsecrate ourselves, our honor, our property to the final emancipation of the race which John Brown died to make free.”

W.E.B. Du Bois (1868–1963) American sociologist, historian, activist and writer

"Niagara Movement Speech" (1905) http://teachingamericanhistory.org/library/document/niagara-movement-speech/ <!--originally a portion of this was cited here to an Address to the Nation speech at Harpers Ferry, Virginia (16 August 1906); published in the New York Times on (20 August 1906) — but that does not correspond with the info at the link. -->
Context: The school system in the country districts of the South is a disgrace and in few towns and cities are Negro schools what they ought to be. We want the national government to step in and wipe out illiteracy in the South. Either the United States will destroy ignorance or ignorance will destroy the United States.
And when we call for education we mean real education. We believe in work. We ourselves are workers, but work is not necessarily education. Education is the development of power and ideal. We want our children trained as intelligent human beings should be, and we will fight for all time against any proposal to educate black boys and girls simply as servants and underlings, or simply for the use of other people. They have a right to know, to think, to aspire.
These are some of the chief things which we want. How shall we get them? By voting where we may vote, by persistent, unceasing agitation; by hammering at the truth, by sacrifice and work.
We do not believe in violence, neither in the despised violence of the raid nor the lauded violence of the soldier, nor the barbarous violence of the mob, but we do believe in John Brown, in that incarnate spirit of justice, that hatred of a lie, that willingness to sacrifice money, reputation, and life itself on the altar of right. And here on the scene of John Brown’s martyrdom we reconsecrate ourselves, our honor, our property to the final emancipation of the race which John Brown died to make free.
Our enemies, triumphant for the present, are fighting the stars in their courses. Justice and humanity must prevail.

John Steinbeck photo

“In a modern scene, when the horizons stretch out and your philosopher is likely to fall off the world like a Dark Age mariner, he can save himself by establishing a taboo-box which he may call "mysticism" or "supernaturalism" or "radicalism." Into this box he can throw all those thoughts which frighten him and thus be safe from them.”

Source: The Log from the Sea of Cortez (1951), Chapter 8
Context: Among primitives sometimes evil is escaped by never mentioning the name, as in Malaysia, where one never mentions a tiger by name for fear of calling him. Among others, as even among ourselves, the giving of a name establishes a familiarity which renders the thing impotent. It is interesting to see how some scientists and philosophers, who are an emotional and fearful group, are able to protect themselves against fear. In a modern scene, when the horizons stretch out and your philosopher is likely to fall off the world like a Dark Age mariner, he can save himself by establishing a taboo-box which he may call "mysticism" or "supernaturalism" or "radicalism." Into this box he can throw all those thoughts which frighten him and thus be safe from them.

Elizabeth Hand photo

“In those days, you could go anywhere, which you can't do now. You could get in behind the scenes and wander along these tunnels.”

Elizabeth Hand (1957) American writer

Strange Horizons interview (2004)
Context: I worked at the Smithsonian for a number of years. I had a very low-level job. I didn't have much responsibility, but I did have a Smithsonian ID badge that gave me access to all of the museums on the mall, and also the National Gallery of Art. In those days, you could go anywhere, which you can't do now. You could get in behind the scenes and wander along these tunnels. There is a scene in "Prince of Flowers" where the characters are in the Paleontology Department of the Museum of Natural History where they really do have this Raiders of the Lost Ark-type vast space filled with all of these unopened cartons. … I was really entranced with the idea of living in a museum. In Winterlong there are two parallel storylines and the one for Raphael takes place among this guild or tribe of curators who live in the ruins of the Smithsonian Institution.

“However confused the scene of our life appears, however torn we may be who now do face that scene, it can be faced, and we can go on to be whole.”

Muriel Rukeyser (1913–1980) poet and political activist

Source: The Life of Poetry (1949), Chapter One : The Fear of Poetry
Context: Poetry is, above all, an approach to the truth of feeling, and what is the use of truth!
How do we use feeling?
How do we use truth! However confused the scene of our life appears, however torn we may be who now do face that scene, it can be faced, and we can go on to be whole.
If we use the resources we now have, we and the world itself may move in one fullness. Moment to moment, we can grow, if we can bring ourselves to meet the moment with our lives.

Georges Clemenceau photo

“To me the scene possessed only the horror of a slaughter-house.”

Georges Clemenceau (1841–1929) French politician

South America To-Day : A Study of Conditions, Social, Political, and Commercial in Argentina, Uruguay and Brazil (1911) http://www.archive.org/details/southamericatoda011092mbp Ch. 14, Brazilian Coffee, p. 395
Context: In the distance huge trees were still blazing, around us was a waste of ashes and of half-consumed boughs, and the falling rain seemed only to quicken the dying conflagration. In some of the great green boles were fearful gaping wounds through which the sap was oozing, while some tall trees still stretched to heaven their triumphant crown of foliage above a trunk all charred that would never sprout again. The Brazilians contemplate spectacles such as this with a wholly indifferent eye, and, indeed, even with satisfaction, for they see in the ruin only a promise of future harvests. To me the scene possessed only the horror of a slaughter-house.

Joel Barlow photo

“Tyrants of double powers, the soul that blind,
To rob, to scourge, and brutalize mankind,
Think not I come to croak with omen'd yell
The dire damnations of your future hell,
To bend a bigot or reform a knave,
By op'ning all the scenes beyond the grave.”

Joel Barlow (1754–1812) American diplomat

The Conspiracy of Kings (1792)
Context: Think not, ye knaves, whom meanness styles the Great,
Drones of the Church and harpies of the State, —
Ye, whose curst sires, for blood and plunder fam'd,
Sultans or kings or czars or emp'rors nam'd,
Taught the deluded world their claims to own,
And raise the crested reptiles to a throne, —
Ye, who pretend to your dark host was given
The lamp of life, the mystic keys of heaven;
Whose impious arts with magic spells began
When shades of ign'rance veil'd the race of man;
Who change, from age to age, the sly deceit
As Science beams, and Virtue learns the cheat;
Tyrants of double powers, the soul that blind,
To rob, to scourge, and brutalize mankind,
Think not I come to croak with omen'd yell
The dire damnations of your future hell,
To bend a bigot or reform a knave,
By op'ning all the scenes beyond the grave.
I know your crusted souls: while one defies
In sceptic scorn the vengeance of the skies,
The other boasts, — “I ken thee, Power divine,
“But fear thee not; th' avenging bolt is mine." No! 'tis the present world that prompts the song,
The world we see, the world that feels the wrong,
The world of men, whose arguments ye know,
Of men, long curb'd to servitude and wo,
Men, rous'd from sloth, by indignation stung,
Their strong hands loos'd, and found their fearless tongue;
Whose voice of fire, whose deep-descending steel
Shall speak to souls, and teach dull nerves to feel.

Anne Brontë photo

“While on my lonely couch I lie,
I seldom feel myself alone,
For fancy fills my dreaming eye
With scenes and pleasures of its own.”

Poems by Currer, Ellis, and Acton Bell (1846), Dreams (1845)
Context: While on my lonely couch I lie,
I seldom feel myself alone,
For fancy fills my dreaming eye
With scenes and pleasures of its own.
Then I may cherish at my breast
An infant's form beloved and fair,
May smile and soothe it into rest
With all a Mother's fondest care.

Eleanor Clift photo

“What her detractors failed to understand (and I was among them) was the substantive role she played behind the scenes at the White House in keeping her husband's presidency on track.”

Eleanor Clift (1940) American journalist

Farewell to Hollywood's Great White House Romance (2016)
Context: Nancy Reagan became first lady during the height of the feminist movement, and women who were battling for their rights in a male-dominated world saw her as an anachronism. Reagan said her life began when she met her husband. The adoring look she focused on her Ronnie when they were in public became known as "the gaze," adding to the caricature of her as a rich Hollywood socialite who did not understand the concerns of a generation of women coming into their own as professionals and seeking equality.
What her detractors failed to understand (and I was among them) was the substantive role she played behind the scenes at the White House in keeping her husband's presidency on track. She took the long view in looking after his legacy, intervening through favored surrogates to keep conservative ideologues from driving the agenda. Her insistence that no president could be considered great without reaching out to Soviet leaders trumped resistance from the right wing of the GOP.
She was fiercely protective of her husband's image, less so of her own, and she paid the price. When some of her interventions became known, particularly in the personnel department, she was cast as Lady Macbeth — even though the firings she engineered won praise. … Years later, with the benefit of hindsight and after watching Hillary Clinton's failed effort to achieve health-care reform, I came to believe Nancy Reagan deserved a fairer assessment. I wrote an op-ed piece that appeared in The Washington Post on Jan. 8, 1995, with the headline "Nancy with the centrist face: Derided as an elitist, Mrs. Reagan's impact was unequaled." I made the point that unlike Clinton, who took an office in the West Wing and was upfront about wanting to be a player, Reagan operated undercover, usually through a surrogate, and that she was a force for good. She rarely left fingerprints, but she got the job done, and her job was to play up her husband's strengths and cover for his weaknesses. She did both very well.
The piece concluded with this line: "She is without doubt an effective First Lady, and she may yet win our hearts." Soon after I received a handwritten note from Mrs. Reagan saying, "I don't really know how to say this but when something very nice comes from an unexpected source, it's really appreciated — and if you see me in a different light now, I'm happy. I can only hope one day 'to win the heart.' " Later that same year, she cooperated with a NEWSWEEK cover about her reconciliation with daughter Patti Davis, and how the president's Alzheimer's disease had brought the family together after literally decades of turmoil. Another handwritten note arrived shortly after with the lighthearted comment, "We've got to stop meeting like this!" After sharing her thoughts and emotions on her family's difficult times, Reagan said, "Hopefully I'm close to 'winning the heart.' "
In looking back at these notes, I realize how much it meant to her to gain a measure of affection after being treated so harshly in the public eye.

Robert Graves photo

“The scenes were nearly always recollections of my first four months in France; the emotion-recording apparatus seems to have failed after Loos.”

Robert Graves (1895–1985) English poet and novelist

Source: Goodbye to All That (1929), Ch. 27 On studying at Oxford University in 1919.
Context: In the middle of a lecture I would have a sudden very clear experience of men on the march up the Béthune–La Bassée road; the men would be singing... These daydreams persisted like an alternate life and did not leave me until well in 1928. The scenes were nearly always recollections of my first four months in France; the emotion-recording apparatus seems to have failed after Loos.

François-René de Chateaubriand photo

“The scenes of tomorrow no longer concern me; they call for other artists: your turn, gentlemen!”

Book XLII: Ch. 18: A summary of the changes which have occurred around the globe in my lifetime
Mémoires d'outre-tombe (1848 – 1850)
Context: New storms will arise; one can believe in calamities to come which will surpass the afflictions we have been overwhelmed by in the past; already, men are thinking of bandaging their old wounds to return to the battlefield. However, I do not expect an imminent outbreak of war: nations and kings are equally weary; unforeseen catastrophe will not yet fall on France: what follows me will only be the effect of general transformation. No doubt there will be painful moments: the face of the world cannot change without suffering. But, once again, there will be no separate revolutions; simply the great revolution approaching its end. The scenes of tomorrow no longer concern me; they call for other artists: your turn, gentlemen!
As I write these last words, my window, which looks west over the gardens of the Foreign Mission, is open: it is six in the morning; I can see the pale and swollen moon; it is sinking over the spire of the Invalides, scarcely touched by the first golden glow from the East; one might say that the old world was ending, and the new beginning. I behold the light of a dawn whose sunrise I shall never see. It only remains for me to sit down at the edge of my grave; then I shall descend boldly, crucifix in hand, into eternity.

Michelangelo Antonioni photo

“When a scene is being shot, it is very difficult to know what one wants it to say, and even if one does know, there is always a difference between what one has in mind and the result on film.”

Michelangelo Antonioni (1912–2007) Italian film director and screenwriter

Encountering Directors interview (1969)
Context: When a scene is being shot, it is very difficult to know what one wants it to say, and even if one does know, there is always a difference between what one has in mind and the result on film. I never think ahead of the shot I'm going to make the following day because if I did, I'd only produce a bad imitation of the original image in my mind. So what you see on the screen doesn't represent my exact meaning, but only my possibilities of expression, with all the limitations implied in that phrase. Perhaps the scene reveals my incapacity to do better; perhaps I felt subconsciously ironic toward it. But it is on film; the rest is up to you.

Philip K. Dick photo

“In one dim scene he saw himself lying charred and dead; he had tried to run through the line, out the exit.
But that scene was vague. One wavering, indistinct still out of many. The inflexible path along which he moved would not deviate in that direction. It would not turn him that way.”

Philip K. Dick (1928–1982) American author

The Golden Man (1954)
Context: In one dim scene he saw himself lying charred and dead; he had tried to run through the line, out the exit.
But that scene was vague. One wavering, indistinct still out of many. The inflexible path along which he moved would not deviate in that direction. It would not turn him that way. The golden figure in that scene, the miniature doll in that room, was only distantly related to him. It was himself, but a far-away self. A self he would never meet. He forgot it and went on to examine the other tableau.
The myriad of tableaux that surrounded him were an elaborate maze, a web which he now considered bit by bit. He was looking down into a doll's house of infinite rooms, rooms without number, each with its furniture, its dolls, all rigid and unmoving. <!-- The same dolls and furniture were repeated in many. He, himself, appeared often. The two men on the platform. The woman. Again and again the same combinations turned up; the play was redone frequently, the same actors and props moved around in all possible ways.
Before it was time to leave the supply closet, Cris Johnson had examined each of the rooms tangent to the one he now occupied. He had consulted each, considered its contents thoroughly.
He pushed the door open and stepped calmly out into the hall. He knew exactly where he was going. And what he had to do. Crouched in the stuffy closet, he had quietly and expertly examined each miniature of himself, observed which clearly-etched configuration lay along his inflexible path, the one room of the doll house, the one set out of legions, toward which he was moving.

Bill Bailey photo