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All A Quotes

“As I say, there's something that scares the hell out of me but it really makes me work hard in losing myself. I'm not really interested in me as an actor or being a personality player, or a Hollywood star. What's given to me is to become different people and to find the truth of that. That is really what I do.”

“As I scanned the crowd, my eyes met with those of a masked faerie across the path. One was russet and shone as brightly as his red hair. The other was- metal. I blinked at the same moment he did, and then his eyes went wide. He vanished into nothing, and a second later, someone grabbed my elbow and yanked me out of the crowd. 'Have you lost your senses?' Lucien shouted above the drums. His face was ghostly pale. 'What are you doing here?' None of the faeries noticed us- they were all staring intensely down the path, away from the cave. 'I wanted to-' I started, but Lucien cursed violently. 'Idiot!' he yelled at me, then glanced behind him toward where the other faeries stared. 'Useless human fool.' Without further word, he slung me over his shoulder as if I were a sack of potatoes. Despite my wriggling and shouts of protest, despite my demands than he get my horse, he held firm, and when I looked up, I found that he was running- fast. Faster than anything should be able to move. It made me so nauseated that I shut my eyes. He didn't stop until the air was cooler and calmer, and the drumming was distant. Lucien dropped me on the floor of the manor hallway, and when I steadied myself, I found his face just as pale as before. 'You stupid mortal,' he snapped. 'Didn't he tell you to stay in your room?' Lucien looked over his shoulder, toward the hills, where the drumming became so loud and fast that it was like a rainstorm.”

“As I search the archives of my memory I seem to discern six types or methods [of judicial writing] which divide themselves from one another with measurable distinctness. There is the type magisterial or imperative; the type laconic or sententious; the type conversational or homely; the type refined or artificial, smelling of the lamp, verging at times upon preciosity or euphuism; the demonstrative or persuasive; and finally the type tonsorial or agglutinative, so called from the shears and the pastepot which are its implements and emblem.”

“As I searched the atlas for somewhere to run to, Hugh made a case for his old stomping grounds. His first suggestion was Beirut, where he went to nursery school. His family left there in the midsixties and moved to the Congo. After that, it was Ethiopia, and then Somalia, all fine places in his opinion. 'Let's save Africa and the Middle East for when I decide to quit living,' I said.”

“As I see it the world is undoubtedly in need of a new religion, and that religion must be founded on humanist principles. When I say religion, I do not mean merely a theology involving belief in a supernatural god or gods; nor do I mean merely a system of ethics, however exalted; nor only scientific knowledge, however extensive; nor just a practical social morality, however admirable or efficient. I mean an organized system of ideas and emotions which relate man to his destiny, beyond and above the practical affairs of every day, transcending the present and the existing systems of law and social structure. The prerequisite today is that any such religion shall appeal potentially to all mankind; and that its intellectual and rational sides shall not be incompatible with scientific knowledge but on the contrary based on it.”

“As I see it, a successful story of any kind should be almost like hypnosis: You fascinate the reader with your first sentence, draw them in further with your second sentence and have them in a mild trance by the third. Then, being careful not to wake them, you carry them away up the back alley of your narrative and when they are hopelessly lost within the story, having surrendered themselves to it, you do them terrible violence with a softball bag and then lead them whimpering to the exit on the last page. Believe me, they'll thank you for it.”

“As I see it, all of them - Tachists, Action Painters, Informel artists, and the rest - are only part of an Informel movement that covers a lot of other things as well. I think there's an Informel element in Beuys, as well; but it all began with Duchamp and chance, or with Mondrian, or with the Impressionists. The Informel is the opposite of the constructional quality of classicism - the age of kings, or clearly formed hierarchies.”

“As I see it, creative achievement is the very heart of the human enterprise... The destiny of man, of all men and of each man, is that he is condemned to invent what he will be - condemned if he is fearful but blessed if he welcomes the great adventure. We are responsible in the last analysis, not simply for what we are, but for what we will become; and that is a source of either high excitement or distress.”

“As I see it, our revolutionary task is to destroy phallic identity in men and masochistic non-identity in women--that is, to destroy the polar realities of men and women as we now know them so that this division of human flesh into two camps--one an armed camp and the other a concentration camp--is no longer possible. Phallic identity is real and it must be destroyed. Female masochism is real and it must be destroyed.”

“As I see it, the major requirements for a strong and able rendering are an understanding of a work's structure, voicing, and trajectory; an ability to execute the details on the page from largest to smallest; technical command, and hopefully a connection with the overall expressive impulse (though the latter is not at all necessary to give a good performance).”

“As I see it, there are two great forces of human nature: self-interest, and caring for others. Capitalism harnesses self-interest in a helpful and sustainable way, but only on behalf of those who can pay. Government aid and philanthropy channel our caring for those who can't pay. But to provide rapid improvement for the poor we need a system that draws in innovators and businesses in a far better way than we do today.”

“As I see it, we are all connected and share a stake in our collective future. We are all part of a greater picture. I greatly encourage businesswomen everywhere in the world to take personal responsibility, stay connected to their own intuition and unique potential, work hard, deal with reality, but don't give up.”

“As I see the bad religion situation, the answer isn't a matter of stepping out and starting new traditions so much as it's a matter of approaching the currents we're already in from a different angle, one person, one relationship at a time. And even putting it this way brings to mind the poet-pastor Eugene Peterson, who once observed that the besetting sin of the American people is probably impatience. This sounds so right to me, especially when I consider the possibility that there's hardly a sin I can think of that isn't somehow born of misperceived need, of haste and its accompanying inattentiveness, of some feverish variation once more of Hurry up and matter! Being true - ringing true - will have to involve a slow work of recognition and resistance to that mad and nervy, deluding spirit. To begin to be true is to try to choose - or risk choosing - presence over progress, really showing up and taking the time to wonder what we're really up to, what we're doing and why.”

“As I set out to begin photographing Shanghai, I encountered the insider/outsider phenomena in the most personal of ways. You would walk into an old neighborhood in the center of city, and people would begin to point at you. People would begin to talk about you, spreading the word about the outsider who has wandered into their midst, look at him, he's got a camera, what's he doing, is this allowed, is this OK, how should be respond to him.”