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
Quotes about scene
page 7
Letter (1801-05-12) [Letters of Jane Austen -- Brabourne Edition]
Letters
Neville Cardus, Foreword to All On A Summer's Day.
About
Source: The Band That Played On (Thomas Nelson, 2011), p. 142
Meditation on a Broomstick (1703–1710)
1880s, New Orleans Gas Co. v. Louisiana Light Co. (1885)
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
Quote in his lecture at the Associazione Artistica Internationale, Rome May 1911, Boccioni's lecture 'La Pittura Futurista', 1911; as quoted in Futurism, ed. Didier Ottinger; Centre Pompidou / 5 Continents Editions, Milan, 2008, p. 55.
1911
Book i. Stanza 5.
The Minstrel; or, The Progress of Genius (1771)
Full transcript of bin Ladin's speech http://www.aljazeera.com/archive/2004/11/200849163336457223.html Aljazeera, (01 Nov 2004)
2000s, 2004
Paul Krugman and Richard Layard, "A Manifesto for Economic Sense" (June 27, 2012)
Four Minute Essays Vol. 5 (1919), The Human Heart
Plato's Pharmacy, Pharmacia
Dissemination (1972)
“The reciprocal civility of authors is one of the most risible scenes in the farce of life.”
The Life of Sir Thomas Browne (1756) http://andromeda.rutgers.edu/~jlynch/Texts/browne.html
Source: 1900s, Notes d'un Peintre (Notes of a Painter) (1908), p. 413
Letter to his future wife, Maria Bicknell (26 August 1816), as quoted in Leslie Parris and Ian Fleming-Williams, Constable (Tate Gallery Publications, London, 1993), p. 119
1800s - 1810s
Diary entry (3 August 1914), quoted in John Keiger, 'France' in Keith Wilson (ed.), Decisions for War 1914 (London: University College London Press, 1995), p. 137.
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
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.
I thought I was going over for real.
Psychotronic Video interview http://www.zomboscloset.com/zombos_closet_of_horror_b/2013/08/the-jeff-morrow-interview-part-4.html (1993)
1920
as quoted in Artists on Art – from the 14th – 20th centuries, ed. by Robert Goldwater and Marco Treves; Pantheon Books, 1972, London, pp. 440-441
1908 - 1920, On Mystery and Creation, Paris 1913
Letter to "Music and the Drama", The Chicago Record-Herald (3 February 1903)
Letters and essays
Reflection on experience at age sixteen in "Faces of Faith: A Connection Magazine Anthology" (2006), p. 82.
Source: My Several Worlds (1954), p. 407, This has sometimes been quoted as "In a mood of faith and hope..."
About her intent to practice Hinduism
Q&A with Wendy Doniger, the Mircea Eliade Distinguished Service Professor and author of The Hindus
“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
Interview with George D. Rodger (15 December 2002), in VeganSociety.com https://www.vegansociety.com/sites/default/files/DW_Interview_2002_Unabridged_Transcript.pdf.
Source: "Hideo Kojima: The Kikizo Interview 2008 (Page 3)". https://web.archive.org/web/20111009180041/http://archive.videogamesdaily.com/features/hideo-kojima-interview-2008-p3.asp Kikizo. August 24, 2008. Archived from the original on October 9, 2011. Retrieved August 7, 2009.
Source: , in 1843 (1844), p. 10.
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)
[thedailystar.net, http://www.thedailystar.net/2005/06/26/d506261404102.htm, 1 June, 2006]
Famous Quotes
Source: 1880s, Incidents and Anecdotes of the Civil War (1885), pp. 317–318
No steak (2013); as quoted in A Plea for the Animals by Matthieu Ricard, trans. Sherab Chödzin Kohn (Shambhala Publications, 2016), p. 44 https://books.google.it/books?id=bTLuDAAAQBAJ&pg=PA44.
1880s, Plea for Free Speech in Boston (1880)
DJ AM talks about plane crash http://www.celebritysmackblog.com/2008/10/16/dj-am-opens-up-about-the-plane-crash-that-nearly-took-his-life/ People Magazine. October 2008.
“Poetry, Unlimited”, p. 159
Kipling, Auden & Co: Essays and Reviews 1935-1964 (1980)
“It is impossible for any Sherlock Holmes story not to have at least one marvelous scene.”
Rex Stout, page 247
Invitation to Learning
Source: The New Party - (1961), Chapter 5, O Canada, p. 55
Jadunath Sarkar, Fall of the Mughal Empire, Volume II, Fourth Edition, New Delhi, 1991, p.210-11
His last radio transmission to the Japanese military headquarters.
Review http://www.reelviews.net/movies/p/paycheck.html of Paycheck (2003).
One-and-a-half star reviews
"Creation", as quoted in "Shattered Identities and Contested Images: Reflections of Poetry and History in 20th-Century Vietnam" by Neil Jamieson, in Crossroads: An Interdisciplinary Journal of Southeast Asian Studies, Vol. 7, No. 2, 1992, p. 89, and in Understanding Vietnam by Neil Jamieson (University of California Press, 1995), ISBN 978-0520916586, p. 164
Review http://www.rogerebert.com/reviews/ballast-2008 of Ballast (29 October 2008)
Reviews, Four star reviews
As quoted in "Literary witness to century of turmoil" in China Daily (24 November 2003)
Diary entry (30 June 1841)
Diederik Aerts (2001) " Time, space and reality : an analysis from physics. http://www.vub.ac.be/CLEA/aerts/publications/2001TimeSpaceReality.pdf"
Quote of Werefkin from Briefe an einen Unbekannten, 1901-1905. Köln, 1960, p. 19; as cited in M. K. ČIURLIONIS AND MARIANNE VON WEREFKIN: THEIR PATHS AND WATERSHEDS, by Laima Lauckaité; Institute of Culture, Philosophy and Art, Vilnius
1895 - 1905
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
"Address to Happiness", from Poems, on Various Occasions (1806)
Interview with Ekyse Knox http://www.westernclippings.com/interview/elyseknox_interview.shtml
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.
Hindu Temples – What Happened to Them, Volume II (1993)
“To this day, I can't watch my own sex scenes.”
How to Make Love Like a Porn Star: A Cautionary Tale (2004)
"Charley" Boarman's personal application sent along with his father's earlier letter
A Gentlemanly and Honorable Profession: The Creation of the U.S. Naval Officer Corps, 1794-1815 (1991)
…Ah, what's the use?
June 28, 2005 http://www.huffingtonpost.com/larry-david/the-roving-thoughts-of-a-_b_3287.html
Blue Collar Comedy Tour, Blue Collar Comedy Tour: The Movie (2003)
Source: Dictionary of Burning Words of Brilliant Writers (1895), P. 26.
Interview with Bill Kristol (March 2017)
“Glorious transformation! glorious translation! I seem already to behold the wondrous scene.”
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.”
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.
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
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.
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!
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.
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.
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.
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.
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.
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.
"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.
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.
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.
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.
“To me the scene possessed only the horror of a slaughter-house.”
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.
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.
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.
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.
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.
“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.
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.
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.
Part Troll (2004)