Quotes about screen

page 4

The House of Dust (1916 - 1917)

Attributed

How to Succeed at Vampire Slaying and Keep Your Soul (2005)

Hats, Hunches And Happiness (1945)

Tommy Lee Wallace on Crafting His Miniseries Masterpiece, IT https://dailydead.com/stephen-king-week-tommy-lee-wallace-on-crafting-his-miniseries-masterpiece-it/ (October 27, 2015)

Euro Trash Cinema magazine interview (March 1996)

Interview: Tobin Bell Discusses His Career and His New Horror Film Dark House https://editorial.rottentomatoes.com/article/interview-tobin-bell-discusses-his-career-and-his-new-horror-film-dark-house/ (March 14, 2014)

Talking Fiction (Rolling Stone, 2003) http://www.tarantino.info/index.php?option=com_content&task=view&id=310&Itemid=41.

Contact with Space (1957)

Autobiography, part V http://gspauldino.com/part5.html, gspauldino.com

Source: E3 2006 Press Conference

on the filming of Abel Gance's La Roue, 1922
Quote in: Fernand Léger - The Later Years -, catalogue edited by Nicolas Serota, published by the Trustees of the Whitechapel Art gallery, London, Prestel Verlag, 1988, p. 21
Quotes of Fernand Leger, 1920's

Source: Guide for the Perplexed (c. 1190), Part III, Ch.9
Context: The corporeal element in man is a large screen and partition that prevents him from perfectly perceiving abstract ideals; this would be the case even if the corporeal element were as pure and superior as the substance of the spheres; how much more must this be the case with our dark and opaque body. However great the exertion of our mind may be to comprehend the Divine Being or any of the ideals, we find a screen and partition between God and us.

Revolution (2014)
Context: Diablo and I fashioned my beard together in my trailer, together, as cautiously as you’d sculpt a peace treaty between two nations that prefer war to peace. The reality was that my identity outside of filmmaking had become more important to me. I was doing hours of yoga and meditation each day, I was going through a divorce, and the result was a kind of hirsute intransigence. I looked like the cliché of a terrorist and I behaved like one. Except the beard wasn’t the symbol, it was the cause. I feel some guilt about my lack of enthusiasm for acting, like it’s a bit ungrateful. Like I’ve let my teenage self down. Mind you, he let himself down a fair bit, the dirty little pervert. The dreams of my adolescent self were entangled with silvery screens and limousines, and I still feel that I need to offer up superficial sacrifices to his misguided altar. The fact is, though, I find filmmaking a boring process and its ends dubious. This could, of course, be due to the quality of the stuff I’ve done so far, as opposed to an essential rejection of an art form. Maybe if I’d been “R. P. McMurphy” or “The Elephant Man” or “Brian,” I’d feel different. It just wasn’t what I thought it would be. It’s not just the entertainment industry that has seemed like a mirage on arrival. What about clubs and parties? When I’m there I think, “Is this it? Is this all there is? Is this what all the fuss is about?” This feeling of disillusionment perhaps climaxed around the time of my divorce and the making of this subsequent film.

Hearst newspaper column, (28 November 2001).

OSCON 2002
Context: Here's a story: There was a documentary filmmaker who was making a documentary film about education in America. And he's shooting across this classroom with lots of people, kids, who are completely distracted at the television in the back of the classroom. When they get back to the editing room, they realize that on the television, you can barely make out the show for two seconds; it's "The Simpsons," Homer Simpson on the screen. So they call up Matt Groening, who was a friend of the documentary filmmaker, and say, you know, Is this going to be a problem? It's only a couple seconds. Matt says, No, no, no, it's not going to be a problem, call so and so. So they called so and so, and so and so said call so and so.
Eventually, the so and so turns out to be the lawyers, so when they got to the lawyers, they said, Is this going to be a problem? It's a documentary film. It's about education. It's a couple seconds. The so and so said 25,000 bucks. 25,000 bucks?! It's a couple seconds! What do you mean 25,000 bucks? The so and so said, I don't give a goddamn what it is for. $25,000 bucks or change your movie. Now you look at this and you say this is insane. It's insane. And if it is only Hollywood that has to deal with this, OK, that's fine. Let them be insane. The problem is their insane rules are now being applied to the whole world. This insanity of control is expanding as everything you do touches copyrights.

Emotion should never dictate policy https://web.archive.org/web/20120119215614/http://www.ronpaularchive.com/1998/01/emotion-should-never-dictate-policy/ (January 12, 1998).
Press conference regarding the impeachment of President Clinton, 1998.
1990s
Context: In the emotion of the moment, people often say and do reckless things. For the individual, that can have deep ramifications. But when it is a single individual acting unreasonably in the throes of emotion in the face of sorrow, then the consequences are borne by only that person and his family. But when the government behaves recklessly in response to a tragedy, the consequences can be felt by everyone. This is especially true when politicians get in on the act. We can think back no further than July of 1996, when a plane carrying several hundred people suddenly and mysteriously crashed off the coast of Long Island. Within days, Congress had passed emergency legislation calling for costly new security measures, including a controversial “screening” method which calls for airlines to arbitrarily detain passengers just because the person meets certain criteria which border on racist and xenophobic.

Source: Synchronicity: Science, Myth, and The Trickster (1990) by Allan Combs & Mark Holland
Context: The universe according to Bohm actually has two faces, or more precisely, two orders. One is the explicate order, corresponding to the physical world as we know it in day-to-day reality, the other a deeper, more fundamental order which Bohm calls the implicate order. The implicate order is the vast holomovement. We see only the surface of this movement as it presents or "explicates" itself from moment to moment in time and space. What we see in the world — the explicate order — is no more than the surface of the implicate order as it unfolds. Time and space are themselves the modes or forms of the unfolding process. They are like the screen on the video game. The displays on the screen may seem to interact directly with each other but, in fact, their interaction merely reflects what the game computer is doing. The rules which govern the operation of the computer are, of course, different from those that govern the behavior of the figures displayed on the screen. Moreover, like the implicate order of Bohm's model, the computer might be capable of many operations that in no way apparent upon examination of the game itself as it progresses on the screen.

Source: Guide for the Perplexed (c. 1190), Part III, Ch.9
Context: The corporeal element in man is a large screen and partition that prevents him from perfectly perceiving abstract ideals; this would be the case even if the corporeal element were as pure and superior as the substance of the spheres; how much more must this be the case with our dark and opaque body. However great the exertion of our mind may be to comprehend the Divine Being or any of the ideals, we find a screen and partition between God and us.

Edie describing a low point in her relationship with Bob Neuwirth
Edie : American Girl (1982)
Context: It was really sad - Bobby's and my affair. The only true, passionate, and lasting love scene, and I practically ended up in the psychopathic ward. I had really learned about sex from him, making love, loving, giving. It just completely blew my mind - it drove me a little insane. I was like a sex slave to this man. I could make love for forty-eight hours, forty-eight hours, without getting tired. But the minute he left me alone, I felt so empty and lost that I would start popping pills. He had more or less quit using drugs... When I first knew him, a friend of his used to come up with him to my apartment and they'd do a number in the bathroom. This guy eventually died of a heroin overdose, and Bobby left drugs alone after that. But if I wasn't practically in the act of lovemaking, I would be thinking of how to get hold of drugs. I really loved this man.... What happened was that Bobby said, "Let's go to a party. They're making an underground movie," and he said that I, the Warhol heiress, queen, star, socialite, blah, should be there. Bobby really wanted to go. I had a bad scene with him. I pulled out a knife and I wasn't going to let him out the door until he made love to me. I always get really dreadful. But we finally went. I went through it all. I was furious - this after about two years of our continuing relationship. Finally I said, "Now I'm going to leave this party. I'm fed up." He said that was all right: he'd met all the people he wanted to meet, and he'd watched the film begin shot. So we got into my limousine and he said, "Where would you like to eat?" I thought I was going to explode. Where would I like to eat? I screeched at him, "Why the hell can't you make up your own mind where we're going to eat? Why do I have to make all the decisions?" I was just livid, out of hand. I got madder and madder as we drove along, and just as we drove by the Chelsea Hotel I did something. I've never done anything to hurt anyone, and yet I was so furious that I pressed the button and rolled down the window screen - the glass plate between the front and back seats - and I told the chauffeur that the man in the back was molesting me; he was a junkie! I was so horrified by what I'd said, so flipped out by that, that I jumped out of the car into the path of the oncoming traffic, certain that my head would be crushed. All that happened was the I got bruised, badly bruised, but no broken bones. I mean, I was conscious, not destroyed at all. But I'd done such a terrible thing! I couldn't reconcile that. I had been about to explode. The hotel people came out, and they and Bobby carried me in. I had to pretend I was unconscious because I couldn't comprehend the fact that I had tried to get him busted, to hurt him seriously. He was the only person I had ever gotten violent about. I take out whatever violence comes into my system much more heavily on myself than on anyone else. But that was a pretty tight squeeze. I really craved making love to him.

Source: Lullaby (2002), Chapter 3
Context: No one wants to admit we're addicted to music. That's just not possible. No one's addicted to music and television and radio. We just need more of it, more channels, a larger screen, more volume. We can't bear to be without it, but no, nobody's addicted. We could turn it off anytime we wanted. I fit a window frame into a brick wall. With a little brush, the size for fingernail polish, I glue it. The window is the size of a fingernail. The glue smells like hair spray. The smell tastes like oranges and gasoline

"Auctorial Induction"
The Certain Hour (1916)
Context: I have made at worst some neat, precise and joyous little tales which prevaricate tenderly about the universe and veil the pettiness of human nature with screens of verbal jewelwork. It is not the actual world they tell about, but a vastly superior place where the Dream is realized and everything which in youth we knew was possible comes true. It is a world we have all glimpsed, just once, and have not ever entered, and have not ever forgotten. So people like my little tales.... Do they induce delusions? Oh, well, you must give people what they want, and literature is a vast bazaar where customers come to purchase everything except mirrors.

Lew Fields (1941).
Context: Only in the theatre was it possible to see the performers and to be warmed by their personal charm, to respond to their efforts and to feel their response to the applause and appreciative laughter of the audience. It had an intimate quality; audience and actors conspired to make a little oasis of happiness and mirth within the walls of the theatre. Try as we will, we cannot be intimate with a shadow on a screen, nor a voice from a box.

OSCON 2002
Context: J. C. Watts is the only black member of the Republican Party in leadership. He's going to resign from Congress. He's been there seven and a half years. He's had enough. Nobody can believe it. Nobody in Washington can believe it.... In an interview two days ago, Watts said, Here's the problem with Washington: "If you are explaining, you are losing." If you are explaining, you're losing. It's a bumper sticker culture. People have to get it like that, and if they don't, if it takes three seconds to make them understand, you're off their radar screen. Three seconds to understand, or you lose. This is our problem. Six years after this battle began, we're still explaining. We're still explaining and we are losing. They frame this as a massive battle to stop theft, to protect property.... They extend copyrights perpetually. They don't get how that in itself is a form of theft. A theft of our common culture. We have failed in getting them to see what the issues here are and that's why we live in this place where a tradition speaks of freedom and their controls take it away.

“American Addictions” in New Oxford Review (June 1993)
Context: Reading, in contrast to sitting before the screen, is not a purely passive exercise. The child, particularly one who reads a book dealing with real life, has nothing before it but the hieroglyphics of the printed page. Imagination must do the rest; and imagination is called upon to do it. Not so the television screen. Here everything is spelled out for the viewer, visually, in motion, and in all three dimensions. No effort of imagination is called upon for its enjoyment.

Section 56
The True Believer (1951), Part Three: United Action and Self-Sacrifice
Context: The readiness for self-sacrifice is contingent on an imperviousness to the realities of life.... For self-sacrifice is an unreasonable act.... All active mass movements strive, therefore, to interpose a fact-proof screen between the faithful and the realities of the world.... by claiming that the ultimate and absolute truth is already embodied in their doctrine and that there is no truth nor certitude outside it.... To rely on the evidence of senses and of reason is heresy and treason. It is startling to realize how much unbelief is necessary to make belief possible. What we know as blind faith is sustained by innumerable unbeliefs.

"Proceedings in Memory of Justice Brandeis" (1942).
Extra-judicial writings
Context: The day has clearly gone forever of societies small enough for their members to have personal acquaintance with one another, and to find their station through the appraisal of those who have first hand knowledge of them. Publicity is an evil substitute and the art of publicity is a black art; but it has come to stay, every year adds to its potency and to the finality of its judgments. The hand that rules the press, the radio, the screen and the far-spread magazine, rules the country whether we like it or not, we must learn to accept it.

On the Mindless Menace of Violence (1968)
Context: Yet we seemingly tolerate a rising level of violence that ignores our common humanity and our claims to civilization alike. We calmly accept newspaper reports of civilian slaughter in far-off lands. We glorify killing on movie and television screens and call it entertainment. We make it easy for men of all shades of sanity to acquire whatever weapons and ammunition they desire.

Environmentalism as a Religion (2003)
Context: The truth is, almost nobody wants to experience real nature. What people want is to spend a week or two in a cabin in the woods, with screens on the windows. They want a simplified life for a while, without all their stuff. Or a nice river rafting trip for a few days, with somebody else doing the cooking. Nobody wants to go back to nature in any real way, and nobody does. It's all talk — and as the years go on, and the world population grows increasingly urban, it's uninformed talk. Farmers know what they're talking about. City people don't. It's all fantasy.

Video farewell (2002)
Context: I have lived my whole life on the stage and screen before you. I found purpose and meaning in your response. For an actor that is no greater loss than the loss of his audience. I can part the Red Sea, but I can't part with you, which is why I won't exclude you from this stage in my life.
For now, I'm not changing anything. I will insist on work when I can; the doctors will insist on rest when I must. If you see a little less spring in my step, if your name fails to leap to my lips, you will know why. And if I tell you a funny story for the second time, please laugh anyway.

1960s, Freedom From The Known (1969)
Context: What can a human being do — what can you and I do — to create a completely different society? We are asking ourselves a very serious question. Is there anything to be done at all? What can we do? Will somebody tell us? People have told us. The so-called spiritual leaders, who are supposed to understand these things better than we do, have told us by trying to twist and mould us into a new pattern, and that hasn't led us very far; sophisticated and learned men have told us and that has led us no further. We have been told that all paths lead to truth — you have your path as a Hindu and someone else has his path as a Christian and another as a Muslim, and they all meet at the same door — which is, when you look at it, so obviously absurd. Truth has no path, and that is the beauty of truth, it is living. A dead thing has a path to it because it is static, but when you see that truth is something living, moving, which has no resting place, which is in no temple, mosque or church, which no religion, no teacher, no philosopher, nobody can lead you to — then you will also see that this living thing is what you actually are — your anger, your brutality, your violence, your despair, the agony and sorrow you live in. In the understanding of all this is the truth, and you can understand it only if you know how to look at those things in your life. And you cannot look through an ideology, through a screen of words, through hopes and fears.

On violence in movies inspiring real-life violence, as quoted in Jam Showbiz (6 June 1999) http://jam.canoe.ca/Movies/Artists/S/Stowe_Madeleine/1999/06/06/762059.html
Context: I am really astonished at the number of violent acts.
I'm not saying that the movies created these situations, because there are a whole bunch of things.
But a lot of people in the movie industry tend to run and hide from it like ostriches. Movie industry people are definitely in denial right now, but you do become de-sensitized to violence when you see it on the screen so often.
Let's face it, violence exists for one reason in movies, and that's to get an effect, create an emotion, sell tickets.

Ch. 11 : LSD Experience and Reality http://www.psychedelic-library.org/child11.htm
LSD : My Problem Child (1980)
Context: Of greatest significance to me has been the insight that I attained as a fundamental understanding from all of my LSD experiments: what one commonly takes as "the reality," including the reality of one's own individual person, by no means signifies something fixed, but rather something that is ambiguous — that there is not only one, but that there are many realities, each comprising also a different consciousness of the ego.
One can also arrive at this insight through scientific reflections. The problem of reality is and has been from time immemorial a central concern of philosophy. It is, however, a fundamental distinction, whether one approaches the problem of reality rationally, with the logical methods of philosophy, or if one obtrudes upon this problem emotionally, through an existential experience. The first planned LSD experiment was therefore so deeply moving and alarming, because everyday reality and the ego experiencing it, which I had until then considered to be the only reality, dissolved, and an unfamiliar ego experienced another, unfamiliar reality. The problem concerning the innermost self also appeared, which, itself unmoved, was able to record these external and internal transformations.
Reality is inconceivable without an experiencing subject, without an ego. It is the product of the exterior world, of the sender and of a receiver, an ego in whose deepest self the emanations of the exterior world, registered by the antennae of the sense organs, become conscious. If one of the two is lacking, no reality happens, no radio music plays, the picture screen remains blank.

As quoted in Cnaan Liphshiz. Obama ‘chickened out’ of confronting mullahs http://www.jpost.com/LandedPages/PrintArticle.aspx?id=272989. The Jerusalem Post. July 6, 2012.
Interviews, 2012

Speech in the Euston Theatre, London (19 February 1921), quoted in Speeches by The Earl of Oxford and Asquith, K.G. (London: Hutchinson & Co., 1927), p. 289
Later life

§9, p. 151
Surveillance society

Science Fiction on the Titanic, in Brian Aldiss and Harry Harrison (eds.) The Year's Best SF 9 (1976), ISBN 0-8600-7894-9, p. 203

On adapting a literary masterpiece for the big screen in “Interview: Benjamin Bratt” https://www.cinemablend.com/new/Interview-Benjamin-Bratt-6673.html in Cinema Blend

Correspondence between Viceroy Lord Minto’s private secretary, Colonel Dunlop Smith, and Muslim leaders. quoted in Vikram Sampath - Savarkar, Echoes from a Forgotten Past, 1883–1924 (2019)

On avoiding the label of magical realism in “Octavio Solis’s Journey to ‘Mother Road’” https://www.americantheatre.org/2019/09/09/octavio-soliss-journey-to-mother-road/ (American Theatre; Sept 2019)

"Auctorial Induction"
The Certain Hour (1916)

Antisocial Coding: My Year at GitHub https://where.coraline.codes/blog/my-year-at-github/ (July 5, 2017)

Slavoj Žižek, Iraq: The Borrowed Kettle, p. 2. ISBN 1844675408.

Banging Your Head Against a Brick Wall (2001)

In [Lipika, http://books.google.com/books?id=_wvlAAAAMAAJ, 1973, 26]

Review by Abhishek Dubey in [Dubey, Abhishek, Dressing Room, http://books.google.com/books?id=qRvJ2wdReV0C&pg=PA128, 2006, Diamond Pocket Books (P) Ltd., 978-81-8419-191-2, 128–]
About Amitabh Bachhan

Quoted in Love, anger, the works!, 7 December 2013, Filmfare http://downloads.movies.indiatimes.com/site/june2002/flashback.html,

that human beings were in fact merely images of a kind registered in one another’s eyes and brains, phenomena composed of microscopic flickering dots like atoms. They were atoms — nothing more. A quick switch of the dial and they disappeared and who could lament the loss?
You Must Remember This (1987), pt. 1, ch. 13

citation needed
The Actress' Take On Films

The Road to the Sea, p. 269
2000s and posthumous publications, The Collected Stories of Arthur C. Clarke (2001)

The Love Song of J. Alfred Prufrock (1915)

Source: The Santaroga Barrier (1968), Chapter Ten

On the diversity in Star Wars in “John Boyega on Star Wars, Detroit, and Staying Sane with the Help of Robert Downey Jr.” https://www.gq.com/story/john-boyega-star-wars-detroit-and-robert-downey-jr in GQ Magazine (2017 Jul 17)

Animation professor returns to roots as illustrator of Disney biography https://www.lipscomb.edu/now/animation-professor-returns-roots-illustrator-disney-biography (May 8, 2019)

And no one laughed at all."
As quoted in "Hoopla of Movie Stardom Catches Up With Whoopi" by Philip Wuntch, Fort Lauderdale Sun Sentinel (January 3, 1986), p. 6S.

iVillage Entertainment, The Last Temptation of Thelma, Lan N., Nguyen, March 15, 2005, dead, https://web.archive.org/web/20061022085303/http://entertainment.ivillage.com/features/0,,7hghlrfw,00.html, October 22, 2006, mdy-all http://entertainment.ivillage.com/features/0,,7hghlrfw,00.html,

"The Net Is a Waste of Time," The New York Times Magazine, July 14, 1996.
Distrust That Particular Flavor (2012)

Interview With Actor Andrew Francis, “Chesapeake Shores” https://mydevotionalthoughts.net/2019/09/interview-with-actor-andrew-francis-chesapeake-shores-2.html (September 25, 2019)

As quoted in "#MeToo not just about calling out sexual harassers" in The Korea Times (31 March 2018) http://www.koreatimes.co.kr/www/art/2018/04/398_245997.html?utm_source=dable

In an interview with webmaster of thuytrangtribute.com https://www.thuytrangtribute.com/index.html#phone-message (May 2000)

Source: "Penn Badgley weighs in on the worst thing his 'Gossip Girl' character ever did" in TODAY https://www.today.com/popculture/penn-badgley-worst-thing-dan-humphrey-did-gossip-girl-t235509 (22 October 2021)

Source: "Exclusive: How Squid Game’s Hoyeon Jung Went from Model to Star of Netflix’s Biggest Hit" in Vogue https://www.vogue.com/article/squid-game-star-hoyeon-jung-interview (7 October 2021)

Winning the Cultural War (1999), Video farewell (2002)

Source: "Gong Yoo Opens Up On K-content Success Across The World As 'The Silent Sea' Hits Netflix" https://www.republicworld.com/entertainment-news/rest-of-the-world/gong-yoo-opens-up-on-k-content-success-across-the-world-as-the-silent-sea-hits-netflix.html (24 December 2021)

"World of Work" (song)
Song lyrics
Source: Gilbert O'Sullivan, "World of Work" https://www.youtube.com/watch?v=lzBK6HUpxw0 (song on YouTube)

"Nothing Rhymed" (song)
Gilbert O'Sullivan. A live performance. On YouTube https://www.youtube.com/watch?v=MtoefxZGR6U
Gilbert O'Sullivan. A performance with orchestra, c.2017. On YouTube https://www.youtube.com/watch?v=c-SWTPDPriA
Gilbert O'Sullivan. Observations about "Nothing Rhymed", fifty years on. https://www.youtube.com/watch?v=Z2BlxtcH39Q (On YouTube)
(+ A cover version by Franklin Brown on YouTube) https://www.youtube.com/watch?v=y6kuZyk5WJ8
(+ A cover version by Colleen Coughlan on YouTube) https://www.youtube.com/watch?v=LcqndbjOPTs
(+ A cover version by Conor McCauley on YouTube) https://www.youtube.com/watch?v=8nAb0-7J9d4
(+ A cover version by The Ocelots on YouTube) https://www.youtube.com/watch?v=bRCDFiRaRA0
(+ Guitar instrumental by Phil McGarrick) https://www.youtube.com/watch?v=DmzFaUC1rDI
Song lyrics
Source: Gilbert O'Sullivan, "Nothing Rhymed" https://www.youtube.com/watch?v=OGE6gzkMAfw (song on YouTube)