Quotes about theater
page 2

“It takes a little more time to get into the role, but not very much more. In making a record you don't have the sense of projection over a distance as in an opera house. We have this microphone and this magnifies all details of a performance, all exaggerations. In the theater, you can get away with a very large, very grand phrase. For the microphone, you have to tone it down. It's the same as making a film, your gestures will be seen in close-up, so they cannot be exaggerated as they would be in a theater.”

Maria Callas (1923–1977) American-born Greek operatic soprano

On making studio recordings
Callas : The Art and the Life (1974)

Sense, Time, Housing

“I guess there's some sort of unspoken show business rule, [speaks in British accent] 'You do the theater, and then you move into television, and then, of course, that is your steppingstone to film stardom.' I've done it every which way. I've done theater for many, many years and then had some success in films. I would do television sporadically. I thought this was a good time to try it.”

Nathan Lane (1956) American actor

On his role in the television series Encore! Encore! — reported in Susan King, Los Angeles Times (October 27, 1998) "In Sitcom, Nathan Lane Isn't Taking Steppingstones In Order", St. Louis Post-Dispatch, p. D6.

Way, Business, Time, Success

“Just as other information should be available to those who want to learn and understand, program source code is the only means for programmers to learn the art from their predecessors. It would be unthinkable for playwrights not to allow other playwrights to read their plays, but only be present at theater performances where they would be barred even from taking notes. Likewise, any good author is well read, as every child who learns to write will read hundreds of times more than it writes. Programmers, however, are expected to invent the alphabet and learn to write long novels all on their own. Programming cannot grow and learn unless the next generation of programmers have access to the knowledge and information gathered by other programmers before them.”

Erik Naggum (1965–2009) Norwegian computer programmer

" Programming http://naggum.no/erik/programming.html", cited in the preface of Physically Based Rendering (2004) by Matt Pharr and Greg Humphreys.

Art, Understanding, Knowledge, Learning

“Boat Trip arrives preceded by publicity saying many homosexuals have been outraged by the film. Now that it's in theaters, everybody else has a chance to join them. Not that the film is outrageous. That would be asking too much. It is dim-witted, unfunny, too shallow to be offensive, and way too conventional to use all of those people standing around in the background wearing leather and chains and waiting hopefully for their cues. This is a movie made for nobody, about nothing.”

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

Review http://www.rogerebert.com/reviews/boat-trip-2003 of Boat Trip (21 March 2003) Reviews, Half-star reviews

People, Way, Chance, Waiting

“But men must know that in this theater of man's life it is reserved only for God and angels to be lookers on.”

Francis Bacon book The Advancement of Learning

Book II, xx, 8
The Advancement of Learning (1605)

Life, Men, God, Angels

“A few years ago, a motion picture version appeared of Sophocles' immortal tragedy "Oedipus Rex". This picture played only in the so-called art theaters, and it was not a financial success. And I maintain that the reason it was not a financial success… you're way ahead of me… was that it did not have a title tune which the people could hum, and which would make them actually eager to attend this particular… flick. So, I've attempted to supply this, and here then is the prospective title song from "Oedipus Rex".”

Tom Lehrer (1928) American singer-songwriter and mathematician

Intro to "Oedipus Rex"
An Evening (Wasted) With Tom Lehrer (1959)

People, Art, Way, Appearance

“And who’s to say where life ceases and theater begins”

Samuel R. Delany book Triton

Source: Triton (1976), Chapter 3 “Avoiding Kangaroos” (p. 113)

Life

“I've been to Sarajevo a few times and have got to know a lot of people there who put on plays during the siege. I wanted to share in that because I knew it was important to them... I began to see something of what was going on there in terms of actually keeping up people's spirit to resist - the resistance that causes change - even in the worst imaginable circumstances. And I realized that it paralleled the same spirit that existed during the Holocaust and in the gulag. Theater and poetry were what helped people stay alive and want to go on living. That experience changed me, because I realized that if, as actors or writers or directors or designers, we can keep the will to resist alive in as many people as possible, then that's what we are about, and that's what we can do. It's more and more important because of the terrible things that are happening in our cities and the political and economic agendas that various governments have.”

Vanessa Redgrave (1937) English actress

Shawn, Wallace (April 1997), “Mission: possible - interview with actress Vanessa Redgrave” http://www.findarticles.com/p/articles/mi_m1285/is_n4_v27/ai_19382618, Interview.

People, Imagination, Change, Time

“Peter Pan is perhaps the most important thing, to me, that I have ever done in theater.”

Mary Martin (1913–1990) American actress

As quoted in Mary Martin : Broadway Legend (2008) by Ronald L. Davis. p. 180

“A few months ago I read an interview with a critic; a well-known critic; an unusually humane and intelligent critic. The interviewer had just said that the critic “sounded like a happy man”, and the interview was drawing to a close; the critic said, ending it all: “I read, but I don’t get any time to read at whim. All the reading I do is in order to write or teach, and I resent it. We have no TV, and I don’t listen to the radio or records, or go to art galleries or the theater. I’m a completely negative personality.”
As I thought of that busy, artless life—no records, no paintings, no plays, no books except those you lecture on or write articles about—I was so depressed that I went back over the interview looking for some bright spot, and I found it, one beautiful sentence: for a moment I had left the gray, dutiful world of the professional critic, and was back in the sunlight and shadow, the unconsidered joys, the unreasoned sorrows, of ordinary readers and writers, amateurishly reading and writing “at whim”. The critic said that once a year he read Kim, it was plain, at whim: not to teach, not to criticize, just for love—he read it, as Kipling wrote it, just because he liked to, wanted to, couldn’t help himself. To him it wasn’t a means to a lecture or an article, it was an end; he read it not for anything he could get out of it, but for itself. And isn’t this what the work of art demands of us? The work of art, Rilke said, says to us always: You must change your life. It demands of us that we too see things as ends, not as means—that we too know them and love them for their own sake. This change is beyond us, perhaps, during the active, greedy, and powerful hours of our lives, but during the contemplative and sympathetic hours of our reading, our listening, our looking, it is surely within our power, if we choose to make it so, if we choose to let one part of our nature follow its natural desires. So I say to you, for a closing sentence: Read at whim! read at whim!”

Randall Jarrell (1914–1965) poet, critic, novelist, essayist

“Poets, Critics, and Readers”, pp. 112–113
A Sad Heart at the Supermarket: Essays & Fables (1962)

Love, Life, Happiness, Books

“In economics, unlike fiction and the theater, there is no harm in a premature disclosure of the plot: it is to see the changes just mentioned and others as an interlocked whole.”

John Kenneth Galbraith book The New Industrial State

Source: The New Industrial State (1967), Chapter I, Section 3, p. 6

Change

“We look at, the absurdity of the system provides us the most material. And that is best served by sort of the theater of it all, you know, which, by the way, thank you both, because it's been helpful.”

Jon Stewart (1962) American political satirist, writer, television host, actor, media critic and stand-up comedian

In response to Paul Begala's question of which 2004 presidential candidate would provide the best comedic material if elected.
Crossfire Appearance (2004)

Way, Help

“We are in the black theater of nonexistence. In an eye blink the curtain is up, the stage ablaze, for the vast drama of ourselves.”

Herman Wouk (1915–2019) Pulitzer Prize-winning American author whose novels include The Caine Mutiny, The Winds of War and War and …

On Genesis I as his favorite opening passage.
New York Times (June 2, 1985).

“All I can tell you with certainty is that I, for one, have no self, and that I am unwilling or unable to perpetrate upon myself the joke of a self…. What I have instead is a variety of impersonations I can do, and not only of myself — a troupe of players that I have internalised, a permanent company of actors that I can call upon when a self is required…. I am a theater and nothing more than a theater.”

Philip Roth book The Counterlife

Source: The Counterlife (1986), Ch. 5

“The theater began shortly after lunch. His fellow judges and court officers and reporters and even the stenographers were already talking about it as if it were another of those things that just happened in the city. One of those out-of-the-ordinary days that made sense of the slew of ordinary days. New York had a way of doing that. Every now and then the city shook its soul out. It assailed you with an image, or a day, or a crime, or a terror, or a beauty so difficult to wrap your mind around that you had to shake your head in disbelief.”

Colum McCann book Let the Great World Spin

Let the Great World Spin (2009), Book Three: Part of the Parts

Beauty, Way, Soul, Sense

“Theaters are the opposite of class lectures, the front row is where the action is.”

Chetan Bhagat (1974) Indian author, born 1974

Source: Five Point Someone - What not to do at IIT! (2004), P. 87

“Religious faith often finds itself at odds with story-telling. Puritans ban acting companies. Islam is uneasy about all forms of representation. And why? Because the experience of walking out of the theater after a performance is a paradigm of disillusionment, and religious people are officially supposed to believe, first and foremost, in their own literal faith, from which there are no exits. They've taken the big leap, and live, ever after, in free fall.”

Thomas M. Disch (1940–2008) Novelist, short story writer, poet

Introduction to "The Santa Claus Compromise".
The Man Who Had No Idea (and other stories) (1982)

People, Faith

“The theater, which is in no thing, but makes use of everything—gestures, sounds, words, screams, light, darkness—rediscovers itself at precisely the point where the mind requires a language to express its manifestations…. To break through language in order to touch life is to create or recreate the theatre.”

Antonin Artaud (1896–1948) French-Occitanian poet, playwright, actor and theatre director

Preface: The Theater and Culture
The Theatre and Its Double (1938, translated 1958)

Life, Light

“It's all been a bad joke that just ran out of control. I got into food for fun but the business got a mind of its own. Now — my good Lord — look where it has gotten me. My products are on supermarket shelves, in cinemas, in the theater. And they say show business is odd.”

Paul Newman (1925–2008) American actor and film director

Quoted in "Saint Paul," interview with John Aldridge, The Guardian (2005-04-10)

Food, Business

“I live in a rather special world. I only know one person who voted for Nixon. Where they are I don't know. They're outside my ken. But sometimes when I'm in a theater I can feel them.”

Pauline Kael (1919–2001) American film critic

Quoted by Israel Shenker, "Critics Here Focus on Films As Language Conference Opens," http://select.nytimes.com/gst/abstract.html?res=F50A11FF3E59107A93CAAB1789D95F468785F9 The New York Times (1972-12-28) Often quoted as "How could Nixon have won? Nobody I know voted for him"; referring to George McGovern's loss to Richard Nixon in in the 1972 presidential election.

World, Feeling, Personality

“No matter how close and familiar the temple or cathedral were to the people who lived around them, they remained in terrifying or elevating contrast to the daily life of the slave, the peasant, and the artisan—and perhaps even to that of their masters. Whether ritualized or not, art contains the rationality of negation. In its advanced positions, it is the Great Refusal—the protest against that which is. The modes in which man and things are made to appear, to sing and sound and speak, are modes of refuting, breaking, and recreating their factual existence. But these modes of negation pay tribute to the antagonistic society to which they are linked. Separated from the sphere of labor where society reproduces itself and its misery, the world of art which they create remains, with all its truth, a privilege and an illusion. In this form it continues, in spite of all democratization and popularization, through the nineteenth and into the twentieth century. The “high culture” in which this alienation is celebrated has its own rites and its own style. The salon, the concert, opera. theater are designed to create and invoke another dimension of reality. Their attendance requires festive-like preparation; they cut off and transcend everyday experience. Now this essential gap between the arts and the order of the day, kept open in the artistic alienation, is progressively closed by the advancing technological society. And with its closing, the Great Refusal is in turn refused; the “other dimension” is absorbed into the prevailing state of affairs. The works of alienation are themselves incorporated into this society and circulate as part and parcel of the equipment which adorns and psychoanalyzes the prevailing state of affairs.”

Herbert Marcuse book One-Dimensional Man

Source: One-Dimensional Man (1964), pp. 63-64

Life, People, Truth, World

“Musical theater had become very predictable. I think Andrew felt that Bollywood musicals could be a new treat for the Western audience.”

A. R. Rahman (1966) Indian singer and composer

Original Score

Music, Thinking

“To me, the irony of this involvement with size, as I observed earlier, is the unwillingness or inability of so many Americans to identify themselves with something as vast as the United States. Bigger cars, bigger parking lots, bigger corporate structures, bigger farms, bigger drug stores, bigger supermarkets, bigger motion-picture screens. The tangible and the functional expand, while the intangible and the beautiful shrink. Left to wither is the national purpose, national educational needs, literature and theater, and our critical faculties. The national dialogue is gradually being lost in a froth of misleading self-congratulation and cliche. National needs and interests are slowly being submerged by the national preoccupation with the irrelevant.”

J. William Fulbright (1905–1995) American politician

"In Need of a Consensus," Penrose Memorial Lecture to the American Philosophical Society, Philadelphia (April 20, 1961), in Proceedings of the American Philosophical Society, August 1961, p. 352.

Education, Beauty, Cars, Literature

“I think if I have any regret at all about my theatrical career, it was that I didn’t stay longer in the theater. It was very hard to do because the transportation problem was quite serious. It took thirty-five hours to fly out. So you couldn’t really commute to the movie business the way you can do in London. But I wanted to be in movies, because I loved movies. I was a big movie fan. And still am and always have been.”

Vincent Price (1911–1993) American actor

Oral history interview with Vincent Price https://www.aaa.si.edu/collections/interviews/oral-history-interview-vincent-price-13227 (August 1992)

Love, Way, Business, Problem

“The partisan situation in the Italian theater, particularly central Italy, has deteriorated to such an extent that it constitutes a serious danger to troops, supply lines, war industry and economic potential. The fight against the partisans must be carried out with all means at our disposal and with utmost severity. I will protect any commander who exceeds our usual restraint in the choice of methods in executing one's orders is better than failure or neglect to act.”

Albert Kesselring (1885–1960) German Luftwaffe Generalfeldmarschall during World War II

June 17, 1944. Quoted in "Mussolini: The Last 600 Days of Il Duce" - Page 131 - by Ray Moseley - History - 2004.

War, Failure, Fight

“I like the aliveness of it [theater] – that awful feeling of being on the spot. I must assume the responsibility for that moment, for those actions that happen at that particular time. I don't find theater that different from painting, and it's not that I think of painting as theater or vice versa. I tend to think of working as a kind of involvement with materials, as well as rather focused interest which changes.”

Robert Rauschenberg (1925–2008) American artist

1960's, I never thought of it as much of an ability,' (1968)

Feeling, Thinking, Change, Time

“It occurred to me that to have a naked woman on the radio would be outrageous. And yet really who would it offend? It's all theater of the mind. You don't even really know if she's naked or not.”

Howard Stern (1954) American radio personality

Howard Stern on Piers Morgan Tonight, CNN (January 18, 2011)

“The most extraordinary dream I ever had was one in which I fancied that, as I was going into a theater, the cloak-room attendant stopped me in the lobby and insisted on my leaving my legs behind me.”

Jerome K. Jerome (1859–1927) English humorist

Dreams http://www.gutenberg.org/dirs/etext97/jjdrm10.txt

Dreams

“The theater needs continual reminders that there is nothing more debasing than the work of those who do well what is not worth doing at all.”

Gore Vidal (1925–2012) American writer

"Love Love Love," Partisan Review (Spring 1959)
1970s, Homage to Daniel Shays : Collected Essays (1972)

“Theater of Cruelty means a theater difficult and cruel for myself first of all. And, on the level of performance, it is not the cruelty we can exercise upon each other by hacking at each other’s bodies, carving up our personal anatomies, or, like Assyrian emperors, sending parcels of human ears, noses, or neatly detached nostrils through the mail, but the much more terrible and necessary cruelty which things can exercise against us. We are not free. And the sky can still fall on our heads. And the theater has been created to teach us that first of all.”

Antonin Artaud (1896–1948) French-Occitanian poet, playwright, actor and theatre director

Source: The Theatre and Its Double (1938, translated 1958), Ch. 1

Exercises, Personality

“[paintings as] the plastic equivalent of the sounds, noises and smells found in theaters, music-halls, cinemas, brothels, railways station, ports.”

Carlo Carrà (1881–1966) Italian painter

1910's
Source: 'Piani plastici come espanzione sferica nello spazio', Carrà, March 1913

Music, Painting

“The worst thing to happen to the Jews since Mein Kampf…I can't look at it. It's so horrible. The Israelis that helped make this film were crooks. They never gave us the negative back, they never gave us statements — not that the film was worth anything…The lesson for Big Gus for young people is: Don't listen to anybody. We got lots of advice on that film from older, more experienced people. But the film stunk; it's a disgrace. What you saw was made from a half-inch video that somebody from Israel brought to us…The movie opened in Tel Aviv, but it opened the week of the Seven-Day War. So bombs were raining down outside, but we had a bomb inside the movie theater.”

Lloyd Kaufman (1945) American film director

Village Voice http://www.villagevoice.com/2014-01-15/film/troma-lloyd-kaufman-interview/ January 15, 2014 2014

War, People, Help

“We all know that the theater and every play that comes to Broadway have within themselves, like the human being, the seed of self-destruction and the certainty of death. The thing is to see how long the theater, the play, and the human being can last in spite of themselves.”

James Thurber (1894–1961) American cartoonist, author, journalist, playwright

Quoted in New York Times (21 February 1960).
Letters and interviews

Death

“Perhaps if movie theaters also played the national anthem before their main attractions, the Internal Revenue Service would allow Hollywood studios to depreciate their actors.”

Andrew Zimbalist (1947) American economist

Source: Baseball And Billions - Updated edition - (1992), Chapter 2, Baseballs Barons, p. 35.

“I believe natural beauty stimulates the creative mind and it’s no wonder the residents have always had an affinity to the arts. Growing up I was surrounded by music, dance, theater, literature and given my father owned and operated the only two cinema halls in town, I was a very popular kid on Saturdays when traditionally the two would flock to see the latest “flick” that was playing at either the Capitol Cinema or The Rink”

Erick Avari (1952) Indian actor

formerly a roller skating rink

Beauty, Art, Music, Literature

“A movie loosely based upon my novel, I Know What You Did Last Summer, opened in theaters around the country. I was ecstatic until I settled into a theater seat with my box of popcorn and discovered that Hollywood had turned my teenage suspense story into a slasher film. The setting had been changed from the mountains of New Mexico to a fishing village on the East Coast, so an insane fisherman, who wasn't in my book, could decapitate my characters with an ice hook. The first thing I did after leaving the theater was phone our daughter Kerry and warn her not to let the grandchildren see it.”

Lois Duncan (1934–2016) American young-adult and children's writer

On the adaptation of her novel I Know What You Did Last Summer in 1997, quoted in MoviePilot https://moviepilot.com/posts/3514425 piece 1990–2002

Books, Mountain, Fish, Change

“.. And with dream awakened eyes she saw all the beauty around her, saw the sea, felt the sun, and knew she had to vanish for a while from the human surface and make every sacrifice in order to create her world anew out of the depths.
And from that came
Life or Theater???”

Charlotte Salomon (1917–1943) German painter

original German language, Zitat von Charlotte Salomon: ..und sie sah – mit wachgeträumten Augen all die Schönheit um sich her – sah das Meer spürte die Sonne und wusste: sie musste für eine Zeit von der menschlichen Oberfläche verschwinden und dafür alle Opfer bringen – um sich aus der Tiefe ihre Welt neu zu schaffen Und dabei entstand<brdas Leben oder das Theater??? Quote, probably 1943, in Charlotte Salomon: Life? or Theatre?, (ed.) Judith C. E. Belinfante et al, Royal Academy of Arts, London, 1998, ISBN 0-900946-66-0, p. 38; as cited om Wikipedia these are the concluding words of the last overlay: JHM 4924-02 https://charlotte.jck.nl/detail/M004924/part/character/theme/keyword/M004924, of the epilogue - quoting ideas of her former love in Germany Alfred Wolfsohn, she called him 'Amadeus Daberlohn' in her paintings

Life, World, Beauty, Dreams

“What's wrong with musicals now is all the gifted men who've died of AIDS—who would otherwise be here today creating great theater.”

Madeline Kahn (1942–1999) American actress

Reported in Boze Hadleigh, (2007) Broadway Babylon: Glamour, Glitz, and Gossip on the Great White Way, Back Stage Books, ISBN 0823088308, p. 95.
Attributed

Men, Music

“My oldest brother used to take me to the theater. The first play he took me to see was 'Black Comedy,' then he took me to see 'Butley.' We'd see all these British plays. And 'Hello, Dolly,' with Pearl Bailey. I was unconsciously thinking, 'Gee, I would love to be able to do that.”

Nathan Lane (1956) American actor

Ron Weiskind, Pittsburgh Post-Gazette (December 21, 1997) "Lane can't stop his career or his repartee", Mobile Register, p. E3.

Love, Thinking

“The drama of the sky dance is enacted nightly on hundreds of farms, the owners of which sigh for entertainment, but harbor the illusion that it is to be sought in theaters. They live on the land, but not by the land.”

Aldo Leopold book A Sand County Almanac

“April: Sky Dance”, p. 34.
A Sand County Almanac, 1949, "April: Come High Water," "April: Draba," "April: Bur Oak," & "April:Sky Dance"

Dance

“Lastly, there are Idols which have immigrated into men's minds from the various dogmas of philosophies, and also from wrong laws of demonstration. These I call Idols of the Theater, because in my judgment all the received systems are but so many stage plays, representing worlds of their own creation after an unreal and scenic fashion.”

Francis Bacon book Novum Organum

Aphorism 44
Novum Organum (1620), Book I

Men, World, Law, Fashion

“Did not Nietzsche too warn of that “life-destroying enlightenment” that touches on our life-supporting self-delusions? Can we afford to shake up the “basic fictions” of privacy, personality, and identity? Be that as it may, in this question both old and new conservatives have come to the hard decision to take the “stance” of defending, against all the demands of reflection, their “unavoidable lies for living,” without which self-preservation would not be possible. That they are aided in this by the general fear of self-experience, which competes with curiosity about self-experience, does not have to be expressly emphasized. Thus the theater of respectable, closed egos goes on everywhere, even where the means have long been available to secure better knowledge. Crosswise to all political fronts, it is the “ego” in society that offers the most resolute resistance against the decisive enlightenment. Scarcely anyone will put up with radical self-reflection on this point, not even many of those who regard themselves as enlighteners.”

Peter Sloterdijk (1947) German philosopher

Source: Kritik der zynischen Vernunft [Critique of Cynical Reason] (1983), p. 60

Life, Fear, Question, Support

“I don’t mind people admiring me if they want to but I don’t think it’s very logical. It’s not like I was St. George knocking off some dumb dragon or anything like that. First of all, you’re talking about something I did a long, long time ago. Secondly, we were doing things that were not expected to last a lifetime. We figured they’d last about three years and then disappear forever. Remember there was no television back then and no place for the cartoons to go after they left the theaters. But I’m not trying to demean what we did. I always took the work very seriously and I’m proud to have been associated with the work we did. It’s just that adulation is impractical and makes me uncomfortable. Nobody noticed us back then. Nobody called us geniuses. And we didn’t feel like artists. We were just trying to make people laugh.”

Chuck Jones (1912–2002) American animator, cartoon artist, screenwriter, producer, and director of animated films

Orange County Register, October 22, 1989

People, Feeling, Thinking, Time

“In a time when so many artists have learned to confabulate with extremes of horror and alienation, the most daring thing an artist can do is to fill a book, a gallery, or a theater with joy, hope, and beauty.”

Theodore Roszak (1933–2011) American social historian, social critic, writer

with Betty Roszak, "Deep Form in Art and Nature" Alexandria 4, Vol.4 The Order of Beauty and Nature (1997) ed. David Fideler

Books, Beauty, Hope, Learning

“The place, with its gray sky and withered garlands, its bared spaces and scattered dead leaves, was like a theater after the performance — all strewn with crumpled playbills.”

Henry James book The Turn of the Screw

Source: The Turn of the Screw (1898), Ch. XIII.

Dead

“I had a hard time watching Wolf Creek. It is a film with one clear purpose: To establish the commercial credentials of its director by showing his skill at depicting the brutal tracking, torture and mutilation of screaming young women. When the killer severs the spine of one of his victims and calls her "a head on a stick," I wanted to walk out of the theater and keep on walking.”

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

Review http://www.rogerebert.com/reviews/wolf-creek-2005 of Wolf Creek (23 December 2005) Reviews, Zero star reviews

Women, Wolf, Time

“I may not be here to titillate, but I am not sorry if I have that edge. People aren't coming to the theaters to see me in a burqa”

Mallika Sherawat (1976) Indian actress

Movie Mag International (September 2004)

People

“Being merciless, while not exactly easy, is finally a job like any other. It’s theater. It’s got nothing to do with my private life. Still, sometimes when I used to yell at my kids, I wondered if I was maybe…putting a little too much into it. They’re grown now, so the question is moot. They seem OK. Roderick is at Harvard and Betsy is married and has a couple of kids of her own.”

Donald Barthelme (1931–1989) American writer, editor, and professor

“Ming”, p. 94.
The Teachings of Don. B: Satires, Parodies, Fables, Illustrated Stories, and Plays of Donald Barthelme (1992)

Life, Question

“You know the worst thing is freedom. Freedom of any kind is the worst for creativity. You know, Dalí spent two months in jail in Spain, and these two months were the most enjoyable and happy in my life. Before my jail period, I was always nervous, anxious. I didn't know if I should make a drawing, or perhaps make a poem, or go to the movies or the theater, or catch a girl, or play with the boys. The people put me in jail, and my life became divine. Tremendous!”

Salvador Dalí (1904–1989) Spanish artist

Quotes of Salvador Dali, 1971 - 1980, Dali interviewed by Victor Bockris, 1974

Life, Happiness, People, Girl

“As actors, we need public relations to campaign for our next possible role, and any media promoting our work seems positive in nature; but whether in theater or on a film set, a bad unprofessional photograph at the wrong angle may not be as flattering to some actors, and may be considered a harmful exposure.”

Carson Grant (1950) American actor

Ernest Dempsey, "Camera Shy?", Digital Journal: Arts, Jan 10, 2011, p. 1
Pointing to the negative publicity factor with unsolicited photographs, article printed in Digital Journal 2011.

Nature

“It's a natural aspect of the marketplace. It's always been that way in storytelling. The guy who was good at playing the lover plays the lover, the funny guy gets the comic role. Movies are so expensive, when they put them together they want to have a couple of solid blocks in what they're building. I accept that. In theater, though, I tend to look for other things, I think I tend to be best in comedy.”

Christopher Walken (1943) American actor

Terry Lawson: Knight-Ridder Newspapers (February 18, 1996) "Weird, As In Walken - No, He's Not Really Nuts … Maybe", St. Louis Post-Dispatch, p. 3D.

Way, Guy, Lovers, Nature

“There is but one solution of the problem, and it is to obliterate absolutely all color line. Open up to the Negro as to the white man, the political offices of the country, making but one test, that of mental and moral fitness. Throw down at once the barriers which close out the Negro merely on account of his color from hotel, theater, and railway carriage. Meet your Negro brother as your equal at banquets and in social gatherings. Give him, in one word, and in full meaning of the terms, equal rights and equal privileges, political, civil, and social. I know no color line, I will acknowledge none. The time is not distant when Americans and Christians will wonder that there ever was a race prejudice.”

John Ireland (bishop) (1838–1918) Catholic bishop

[McClarey, Donald R, Father John Ireland and the Fifth Minnesota, The American Catholic, 2012-08-23, https://the-american-catholic.com/2012/08/23/father-john-ireland-and-the-fifth-minnesota/, 2018-02-04] [Source for quote doesn't list primary source., February 2018]

Color, Problem, Distant, Time

“All strategical decisions in France are made by a non-French unelected oligarchy. The French political stage is a puppet theater, which explains the growing lack of interest for politics, among the French people.”

François Asselineau (1957) French politician

Un petit candidat contre la grande Europe, Nord-Eclair (February 2012) http://www.nordeclair.fr/Locales/Villeneuve-d-Ascq/2012/02/29/un-petit-candidat-contre-la-grande-europ.shtml French politics

People, Decision

“He is a theater animal who is ignited by his synergy with an audience. Audiences are only beginning to see the tip of the iceberg of what Nathan can do.”

Nathan Lane (1956) American actor

Lynne Meadow — reported in Michael Sommers (May 26, 1996) "Nathan In The Fast Lane, From Broadway to `Birdcage' to hosting - the Tonys, 'Forum' star rules", The Star-Ledger, p. 12.
About

Animals

“In Berlin Jews controlled almost one hundred percent of the theaters and cinemas before the rise to power.”

Hermann Göring (1893–1946) German politician and military leader

To Leon Goldensohn (21 May 1946)
The Nuremberg Interviews (2004)

“Between going and staying the day wavers,
in love with its own transparency.
The circular afternoon is now a bay
where the world in stillness rocks.
All is visible and all elusive,
all is near and can't be touched.
Paper, book, pencil, glass,
rest in the shade of their names.
Time throbbing in my temples repeats
the same unchanging syllable of blood.
The light turns the indifferent wall
into a ghostly theater of reflections.
I find myself in the middle of an eye,
watching myself in its blank stare.
The moment scatters. Motionless,
I stay and go: I am a pause.”

Octavio Paz (1914–1998) Mexican writer laureated with the 1990 Nobel Prize for Literature

Between Going and Staying

Love, Books, World, Light

“I prefer character-driven stuff. I am an actor and I come from theater and I love creating a scene and working with actors as opposed as opposed to working with CGI. But there is some fun to be had with the B-movie monster movies as well especially today because they are so self-aware, you can have a lot of fun. But I definitely prefer the more straightforward horror.”

Griff Furst (1981) American actor, director and musician

SLIFF 2016 Interview: Griff Furst – Director of COLD MOON http://www.wearemoviegeeks.com/2016/10/slif-2016-interview-cold-moon-director-griff-furst/ (October 31, 2016)

Love

“After one of those terrible lovers' quarrels that leave one in a state of incomprehensible despair. I came out of the theater, tears streaming, and overheard the petulant voice of a college girl complaining to her boyfriend, "Well I don't see what was so special about that movie." I walked up the street, crying blindly, no longer certain whether my tears were for the tragedy on the screen, the hopelessness I felt for myself, or the alienation I felt from those who could not experience the radiance of Shoeshine. For if people cannot feel Shoeshine, what can they feel?… Later I learned that the man with whom I had quarreled had gone the same night and had also emerged in tears. Yet our tears for each other, and for Shoeshine did not bring us together. Life, as Shoeshine demonstrates, is too complex for facile endings.”

Pauline Kael (1919–2001) American film critic

Review for Shoeshine (1946) as quoted in Sontag & Kael: Opposites Attract Me (2004) by Craig Seligman.

Life, People, Feeling, Girl

“Guyana-Cult of the Damned has crawled out from under a rock and into local theaters, and will do nicely as this week's example of the depths to which people will plunge in search of a dollar. The movie is a gruesome version of the Jonestown massacre of 1978, so badly written and directed it illustrates a simple rule of movie exhibition: If a film is nauseating and reprehensible enough in the first place, it doesn't matter how badly it's made - people will go anyway.”

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

Review http://www.rogerebert.com/reviews/guyana-cult-of-the-damned-1980 of Guyana-Cult of the Damned (29 January 1980) Reviews, Zero star reviews

People, Search

“In ancient times there was no public education, except that of the forum, the theater, and the street, and the general degree of illiteracy was very high…. the early men of science were left very much to themselves and such a phrase as "the scientific culture of Alexandria in the third century B. C." does not cover any reality. In a sense, this is still true today; the real pioneers are so far ahead of the crowd (even a very literate crowd) that they remain almost alone…”

George Sarton (1884–1956) American historian of science

Preface.
A History of Science Vol.2 Hellenistic Science and Culture in the Last Three Centuries B.C. (1959)

Men, Education, Reality, Sense

“This dynamic architecture provides us with the new theater of life and because we are capable of grasping the idea of a whole town at any moment with any plan the task of architecture - the rhythmic arrangement of space and time - is perfectly and simply fulfilled for the new town will not be as chaotically laid out as the modern towns of north and south America but clearly and logically like a beehive..”

El Lissitsky (1890–1941) Soviet artist, designer, photographer, teacher, typographer and architect

1915 - 1925, Suprematism' in World Reconstruction (1920)

Life, Idea, Time

“This [Journalism] is not a profession of my choice. Nor is it family traditional occupation. God must have created this profession as a fit theater for all my struggles…Whatever I have written so far is about politics or philosophy, literature, music, poetry or even speeches I made either in the floor of assembly or from public-platforms-all these in a way touch one aspect of journalism or the other”

D. V. Gundappa (1887–1975) Indian writer

In page=18
D.V. Gundappa,Sahitya Akademi

God, Family, Music, Way

“I think I’m starting to resolve a puzzle that’s been bugging me for awhile.
Pop economists (or, at least, pop micro-economists) are often making one of two arguments:1. People are rational and respond to incentives. Behavior that looks irrational is actually completely rational once you think like an economist.
2. People are irrational and they need economists, with their open minds, to show them how to be rational and efficient.
Argument 1 is associated with “why do they do that?” sorts of puzzles. Why do they charge so much for candy at the movie theater, why are airline ticket prices such a mess, why are people drug addicts, etc. The usual answer is that there’s some rational reason for what seems like silly or self-destructive behavior.
Argument 2 is associated with “we can do better” claims such as why we should fire 80% of public-schools teachers or Moneyball-style stories about how some clever entrepreneur has made a zillion dollars by exploiting some inefficiency in the market.
The trick is knowing whether you’re gonna get 1 or 2 above. They’re complete opposites!”

Andrew Gelman (1965) American mathematician

“One of the easiest ways to differentiate an economist from almost anyone else in society” http://andrewgelman.com/2011/07/19/one_of_the_easi/ (19 July 2011)

People, School, Behavior, Thinking

“I was in Japan a couple of months ago, I saw a preview for the movie Pearl Harbor. And they showed the Japanese airplanes coming in to bomb Pearl Harbor, and I applauded. Nobody else in the theater applauded.”

Bobby Fischer (1943–2008) American chess prodigy, chess player, and chess writer

Radio Interview, July 6 2001 http://www.geocities.jp/bobbby_b/mp3/F_18_3.MP3 2000s

“The Jews might well, were they of such a mind (as I am, lament the disappearance of all those who painted the wooden synagogues in the small towns and villages (oh why haven't I gone to my grave with them!), and the carvers of the wooden 'school mallets' – 'quiet boy!' (and if you should see them in Ansky's collection, you’ll get a shock!). But is there really any difference between my ancestor from Mohiliev, who painted the synagogue there, and myself, who painted the Jewish theater in Moscow (and a good theater it is at that)?… I am convinced that, were I to stop shaving, you would see in me a deceptive likeness.”

Marc Chagall (1887–1985) French artist and painter

Quote from Bletlach (Leaflet - essay in Yiddish), Marc Chagall; published in 'Shtrom' No. 1, 1922
1920's

School, Boy, Painting

“Late in the war, General Marshall, while returning from an Allied conference between Roosevelt, Stalin, and Churchill at Tehran, stopped over a day in the Southwest Pacific Area. We had a long and frank discussion. I called attention to the paucity of men and materiel that I was receiving as compared with all other theaters of war. He said he realized the imbalance and regretted it, but could do little to alter the low priority accorded the area. He said:
Admiral King claimed the Pacific as the rightful domain of the Navy; he seemed to regard the operations there as almost his own private war; he apparently felt that the only way to remove the blot on the Navy disaster at Pearl Harbor was to have the Navy command a great victory over Japan; he was adamant in his refusal to allow any major fleet to be under other command than that of naval officers although maintaining that naval officers were competent to command ground or air forces; he resented the prominent part I had in the Pacific War; he was vehement in his personal criticism of me and encouraged Navy propaganda to that end; he had the complete support of President Roosevelt and his Chief of Staff, Admiral Leahy, and in many cases of General Arnold, the head of the Air Force.”

Douglas MacArthur (1880–1964) U.S. Army general of the army, field marshal of the Army of the Philippines

Source: Reminiscences (1964), p. 183

Men, War, Way, Support

“I am not speaking, obviously, to the laughing hyenas who enjoy seeing images of the wreckage and snicker good–it–serves–the–Americans–right. I am speaking to those who, though not stupid or evil, are wallowing in prudence and doubt. And to them I say: "Wake up, people. Wake up!!" Intimidated as you are by your fear of going against the current—that is, appearing racist (a word which is entirely inapt as we are speaking not about a race but about a religion)—you don’t understand or don’t want to understand that a reverse–Crusade is in progress. Accustomed as you are to the double–cross, blinded as you are by myopia, you don’t understand or don’t want to understand that a war of religion is in progress. Desired and declared by a fringe of that religion, perhaps, but a war of religion nonetheless. A war which they call Jihad. Holy War. A war that might not seek to conquer our territory, but that certainly seeks to conquer our souls. That seeks the disappearance of our freedom and our civilization. That seeks to annihilate our way of living and dying, our way of praying or not praying, our way of eating and drinking and dressing and entertaining and informing ourselves. You don’t understand or don’t want to understand that if we don’t oppose them, if we don’t defend ourselves, if we don’t fight, the Jihad will win. And it will destroy the world that for better or worse we’ve managed to build, to change, to improve, to render a little more intelligent, that is to say, less bigoted—or even not bigoted at all. And with that it will destroy our culture, our art, our science, our morals, our values, our pleasures… Christ! Don’t you realize that the Osama Bin Ladens feel authorized to kill you and your children because you drink wine or beer, because you don’t wear your beard long or a chador, because you go to the theater or the movies, because you listen to music and sing pop songs, because you dance in discos or at home, because you watch TV, wear miniskirts or short–shorts, because you go naked or half naked to the beach or the pool, because you *** when you want and where you want and who you want? Don’t you even care about that, you fools? I am an atheist, thank God. And I have no intention of letting myself be killed for it.”

Oriana Fallaci book The Rage and the Pride

"Rage and the Pride">Oriana Fallaci - The Rage and the Pride http://www.amazon.co.uk/Rage-Pride-Oriana-Fallaci/dp/084782599X - Universe Publishing; Intl edition, 2002, ISBN 9780847825998

God, War, Children, People

“In the long run, any attempt to reduce the complexity of the relations among the sacred, the properly secular, and the profane is doomed to failure, although each such effort can cause great human hardship in the short run. But in both the short and the long run, the Church, or the synagogue, or the mosque or the temple, is where you go when you want to be connected to the One who relates to everyone and every people. If the Church is where one goes to be truly free, how does the Church contribute to our understanding of who we are and what we should do in the activities that shape the world we live in, that fill the theater of secularity?”

Francis George (1937–2015) Catholic cardinal

God in Action: How Faith in God Can Address the Challenges of the World (2011) Ch. 1 "God in American Public Life," pp. 46-47.

People, World, Failure, Understanding

“Life? or Theater?' - A Play with Music - C. S.”

Charlotte Salomon (1917–1943) German painter

Charlotte's 1st introduction page, related to image JHM no. 4155-1 https://commons.wikimedia.org/wiki/File:Charlotte_Salomon_-_JHM_4155.jpg: 'Life? or Theater..', p. 41 written in brush - her title is indicating the close relation for her between drama, music, text and painting Charlotte Salomon - Life? or Theater?

Life, Music

“I was happy to do it when I saw the chance of helping out the local theater scene … I am delighted to be able to help the theaters where I grew up and learned my profession. I have never forgotten my past.”

Goran Višnjić (1972) Croatian actor

Happiness, Learning, Chance, Past

“Print also created new literary forms and altered ideas of literary style. Medieval poetry was conceived for the ear, and each poem had to stand the test of recitation. In addition, medieval audiences were not always interested in the poet himself, since his work was known to them only through the interpretations of minstrels, who frequently rephrased poems to suit their own image and images. The printed page changed these conditions. Slowly, the printed poet came into a new relationship with his reader. He learned not to be so repetitive as his predecessors since a reader could be depended upon to return as often as needed to uncompromised passages. …After the flowering of dramatic poetry during the Elizabethan Age, the printed page substituted for the theater, and millions of children came to know Shakespeare only through this form.”

Neil Postman (1931–2003) American writer and academic

Teaching as a Subversive Activity (1969)

Children, Age, Flowers, Idea

“Children […] had sat in those very box buildings under buzzing fluorescent lights listening to their science teachers prattle about the wonders of space travel and gene splicing and how we were all going to live to be a hundred and twenty five years old in "smart" computer-controlled houses where all we had to do was speak to bump up the heat or turn on giant home theater screens in a life of perpetual leisure and comfort. It made me sick to think about. Not because there's something necessarily wrong with leisure or comfort, but because that's where our aspirations ended. And in the face of what had actually happened to us, it seemed obscenely stupid.”

James Howard Kunstler book World Made By Hand

Source: World Made By Hand (2008), Chapter 6, p. 33–34

Life, Children, Stupidity, Travel

“Isn't this the prettiest little thing you've ever seen? It was over a year ago I held this belt high in the air after I fought for it for the first time in Dayton, Ohio against Samoa Joe and I proclaimed this belt the most important thing to me. Right now, in my hands, as of this day 6/18/05, THIS becomes the most important belt in the world! This belt in the hands of any other man is just a belt, but in my hands it becomes power. Just like this microphone in the hands of any of the boys in the back is just a microphone, but in the hands of a dangerous man like myself it becomes a pipe-bomb. These words that I speak spoken by anybody else are just words strung loosely together to form sentences. What I say I mean, and what I mean I say, and they become anthems! You see, if I could be afforded the time here a little bit of a story. There was once an old man, walking home from work. He was walking in the snow, and he stumbled upon a snake frozen in the ice. He took that snake, and he brought it home, and he took care of it, and he thawed it out, and he nursed it back to health. And as soon as that snake was well enough, it bit the old man. And as the old man lay there dying he asked the snake, 'Why? I took care of you. I loved you. I saved your life.' And that snake looked that man right in the eye and said, 'You stupid old man. I'm a snake.' The greatest thing the devil ever did was make you people believe he didn't exist… and you're looking at him right now! I AM THE DEVIL HIMSELF! And all of you stupid, mindless people fell for it! You all believed in the same make-believe superhero that the legendary Ricky 'The Dragon' Steamboat saw some year ago today. No, you see, you don't know anything. You followed me hook-line and sinker, all of you did, and I'm not mad at you… I just feel sorry for you. This belongs to me! Everything you see here belongs to me, and I did what I had to do to get my hands on this. Now I am the GREATEST PRO WRESTLER walkin' the Earth today! This is my stage, this is my theater, you are my puppets! When I pulled those marionette strings, and I moved your emotions, and I played with them, and honestly it's 'cause I get off on it. I hate each and every single one of you with a thousand burns and I will not stop… I will not stop until I prove that I am better than you, that I am better than Low Ki, that I am better than AJ Styles! I'm better than Samoa Joe. Ladies and gentlemen, the champ is here! You don't have to love it, but you better learn to accept it. 'Cause I'm taking this with me, and there's not a single person in that locker room that can stop me!”

Phil Brooks (1978) American professional wrestler and mixed martial artist

Ring of Honor, Death Before Dishonor III. June 18th, 2005. This promo took place directly after Punk defeated Austin Aries for the ROH World Championship proceeding to turn the, at the time face, Punk heel. Directly after this promo Christopher Daniels made his first appearance in ROH in over a year to challenge for the belt. This promo also made reference to an old parable http://www.snopes.com/critters/malice/scorpion.htm about an animal doing an act of kindness to another creature that is venomous and being surprised when the animal injects the venom to the creature after the act of kindness who then proceeds to explain it is their nature to perform the act. Ring of Honor

Love, Life, Hate, People

“Industrial production, the flow of resources in the economy, the exertion of military effort in a war theater-all are complexes of numerous interrelated activities. Differences may exist in the goals to be achieved, the particular processes involved, and the magnitude of effort. Nevertheless, it is possible to abstract the underlying essential similarities in the management of these seemingly disparate systems.”

George Dantzig (1914–2005) American mathematician

Source: Linear programming and extensions (1963), p. 1

War, Effort

“Cannes, I slept on the beach in 1971. I had Sugar Cookies here, one 35mm film. I had the two cans, I rented theaters but I didn’t have money for a hotel. Slept on the beach, the Palais loved it, the people of Cannes loved it, it was a festival. They were discovering people. An independent company could put leaflets, we could walk into the hotels, put leaflets under all the doors. We could put leaflets on all the cars that were parked. They were interested, they encouraged someone who was unknown. Nobody knew who Troma or I was. It was before Troma. I was a nobody and I still am pretty much, but they encouraged it. Now they don’t want you to do this. You can’t even walk into a hotel without some $600 pass. If you pay, you can put your leaflets on a table maybe. It’s become an elitist festival.”

Lloyd Kaufman (1945) American film director

CraveOnline http://www.craveonline.com/film/articles/507781-exclusive-cannes-interview-lloyd-kaufman-on-nuke-em-high May 28, 2013] 2013

Love, Money, People, Cars

“I saw The Lonely Guy all by myself. It was one of those Saturday afternoons where the snow is coming down gray and mean, and you can't even get a decent recorded message on the answering machines of strangers … "Good luck," an usher told me. "You're going to need it." He was right … The Lonely Guy is the kind of movie that seems to have been made to play in empty theaters on overcast January afternoons … [It] is the kind of movie that inspires you to distract yourself by counting the commercial products visible on the screen, and speculating about whether their manufacturers paid fees to have them worked into the movie. I counted two Diet 7-Ups, two Tabs, and Steve Martin.”

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

Review http://www.rogerebert.com/reviews/the-lonely-guy-1984 of The Lonely Guy (1 January 1984) Reviews, One-and-a-half star reviews

Guy

“Painting has turned back from the non-objective way to the object, and the development of painting has returned to the figurative part of the way that had led to the destruction of the object. But on the way back, painting came across a new object that the proletarian revolution had brought to the fore and which had to be given form, which means that it had to be raised to the level of a work of art... I am utterly convinced that if you keep to the way of Constructivism, where you are now firmly stuck, which raises not one artistic issue except for pure utilitarianism and in theater simple agitation, which may be one hundred percent consistent ideologically but is completely castrated as regards artistic problems, and forfeits half its value... If you go on as you are.... then Stanislavski will emerge as the winner in the theater and the old forms will survive. And as to architecture, if the architects do not produce artistic architecture, the Greco-Roman style of Zyeltovski will prevail, together with the Repin style in painting..”

Kazimir Malevich (1879–1935) Russian and Soviet artist of polish descent

Quote of Malevich from his letter 8 April 1932, to Meyerhold, in 'Two Letters to Meyerhold', in Kunst & Museumjournaal 6, (1990), pp. 9-10; as quoted by Paul Wood in The great Utopia, - The Russian and Soviet Avant-Garde, 1915-1932; Guggenheim Museum, New York, 1992, p. 24 – note 112
This quote clarifies Malevich's famous return to the figuration of the Russian peasant life, in the time of forced collectivization of Russian agriculture: 'for him [= Malevich] the return to figuration was not a break with the Revolution but a way of safeguarding it and preventing the return of Classicism and Naturalism' (Paul Wood in The great Utopia; Guggenheim Museum, New York, 1992, p. 24 – note 112)
1931 - 1935

Art, Way, Problem, Parting

“STEWART: No, this [CrossFire], it's theater. Like, take this for example. How old are you?”

Tucker Carlson (1969) American political commentator

“Playing gay in the theater is more fulfilling than on film because you can create a whole character and a backstory and you get to chip away at something over a long period of time. When you’re acting on film you sort of have one afternoon in front of a crew to just do it. And you don’t want to then be too overt and like that stereotype. But when I was doing A Paris Letter with Josh [Radnor], I was playing someone overtly flamboyant from the ’60s seducing him, and if I did that on film, I think it would look like I was acting too hard. It’s one of the fun things one wants to do as an actor, to play the flamboyant gay guy. But when you are gay that ends up being offensive to people. Say I was asked to play a flamboyant steward in an Airplane!–type farce. It would be a difficult decision to say yes to that role at this point because a lot of people would accuse me of making a mockery of gay people.”

Neil Patrick Harris (1973) American actor and host

Out Magazine; September 2008.

People, Guy, Thinking, Decision

“It is necessary to keep in mind the possibility of simultaneously conducting two, if not three, offensive operations of various fronts on a theater of war with the intention of strategically shaking the enemy's entire combat capability as extensively as possible.”

Semyon Timoshenko (1895–1970) Soviet military commander

Quoted in "The Evolution of Soviet Operational Art" - Page 89 - by David M. Glantz, Harold Steven Orenstein - 1995

War

“One does not go to the theater to see life and nature; one goes to see the particular way in which life and nature happen to look to a cultivated, imaginative and entertaining man who happens, in turn, to be a playwright.”

George Jean Nathan (1882–1958) American drama critic and magazine editor

[Lumley, Frederick, New Trends in 20th Century Drama: A Survey Since Ibsen and Shaw, Barrie and Jenkins, 1972, London, 12, 978-0-19-519680-1]

Life, Way, Imagination, Nature

“There were two times in my life that inspired me the most. The first was when I was a kid, probably the most emotionally influential time, when you’re naïve and innocent. I went to movie theaters and fell in love with genre films in the 1950s, when there was a big wave of monster movies. My passion came from the young guy who was watching The Fly back in 1958. Then, going to USC I began to watch movies in a different way and was exposed to different kinds of movies, foreign films. We had directors like Orson Welles, Alfred Hitchcock, Howard Hawks and John Ford come down and lecture us. It was unbelievable!”

John Carpenter (1948) American film director, screenwriter and producer

John Carpenter Q&A: Why ‘Halloween’ Didn’t Need Sequels & What Scares The Master Of Horror http://deadline.com/2014/10/john-carpenter-qa-halloween-sequels-michael-myers-861942/ (October 31, 2014)

Love, Life, Way, Guy

“Pen-and-paper role-playing is live theater and computer games are television. People want the convenience and instant gratification of turning on the TV rather than getting dressed up and going out to see a live play. In the same way, the computer is a more immediately accessible way to play games.”

Gary Gygax (1938–2008) American writer and game designer

As quoted in "Dungeon Masters in Cyberspace" in The New York Times (27 February 2006) http://www.nytimes.com/2006/02/27/arts/27drag.html?_r=1&oref=slogin&pagewanted=all

People, Way, Game

“How could I not have known that there are little things the size of "Planck length" in the universe, which are a millionth of a billionth of a billionth of a centimeter? Imagine if you dropped one in a dark theater how hard it would be to find.”

Woody Allen book Mere Anarchy

Mere Anarchy (2007)

Imagination, Universe

“We have been keeping the peace in the Asia-Pacific theater for decades now, and the essence of the rebalance is to keep that peace and stability going, of which we have been a pivotal part. You ask about India, yes it is difficult. We are two technical and military cultures that grew up on opposite sides of the fence during the Cold War.”

Ash Carter (1954) United States Secretary of Defense

archive.defensenews.com interview http://archive.defensenews.com/article/20131119/DEFREG02/311190032/Interview-Ashton-Carter-US-Deputy-Defense-Secretary

War, Peace, Parting

“A deepened, high-energy democracy does not seek to replace the real world of interests and of interest-bearing individuals with the selfless citizen and with the all-consuming theater of public life. It is not a flight into republican purism and fantasy. It wants to enhance our ordinary powers, enlarge the scope of our ordinary sympathies and ambitions, and render more intense our ordinary experience. It seeks to do so by diminishing the distance between the ordinary moves we may within institutional and ideological contexts take for granted and the extraordinary initiatives by which we challenge and change pieces of those contexts. Its agent and its beneficiary are one and the same: the real thing—the frail, self-interested, longing individual in the flesh, the victim of circumstance whom no circumstance can ever completely or definitively confine.”

Roberto Mangabeira Unger book The Left Alternative

Source: The Left Alternative (2009), p. 30-1

Life, World, Democracy, Change

“Our crude civilization engenders a multitude of wants, and lawgivers are ever at their wits' end devising. The hall and the theater and the church have been invented, and compulsory education. Why not add compulsory recreation? Our forefathers forged chains of duty and habit, which bind us notwithstanding our boasted freedom, and we ourselves in desperation add link to link, groaning and making medicinal laws for relief. Yet few think of pure rest or of the healing power of Nature.”

John Muir (1838–1914) Scottish-born American naturalist and author

12 November 1875, page 234
John of the Mountains, 1938

Education, Law, Nature, Thinking

“Make them laugh, make them cry, and back to laughter. What do people go to the theater for? An emotional exercise. And no preachment.”

Mary Pickford (1892–1979) Canadian-American actress

Kevin Brownlow, The Parade's Gone By ... (1968), p. 134

People, Exercises, Laughter, Cry

“Those who delight in bad movies and enjoy producing their own unfilmed versions of Mystery Science Theater 3000 may gain a measure of semi-masochistic enjoyment out of Van Helsing. There are quite a few unintentionally funny moments, although the overall experience was too intensely painful for me to be able to advocate it as being "so bad, it's good."”

James Berardinelli (1967) American film critic

Review http://www.reelviews.net/movies/v/van_helsing.html of Van Helsing (2004). Half-star reviews

Pain, Science

“I think one of the things we may have missed in horror the last few years is how much fun those movies are to watch. They’re a good time. Horror has either been J Horror, moving upside down, girl with long hair, twisted head kind of thing, towards more let’s torture somebody and do something horrible over a long period of time and you can watch the trainwreck in real time. There are places for both kinds of movies, and there are great examples of both kinds but they’re not necessarily the most good time you can have at a theater.”

Patrick Lussier (1964) Canadian-American film director, screenwriter and film editor

Exclusive Interview: Patrick Lussier (My Bloody Valentine 3D) http://www.chud.com/17737/exclusive-interview-patrick-lussier-my-bloody-valentine-3d/ (January 12, 2009)

Girl, Thinking, Time

“It's a movie barely fit for a cretin, much less a King. … If you hear a door slam in the theater, you'll know that Elvis has left the building -- in disgust.”

Stephanie Zacharek (1963) American film critic

Review http://archive.salon.com/ent/movies/review/2001/02/23/graceland/index.html of 3000 Miles to Graceland (2001)