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M Quotes

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All M Quotes

“My fiancé, you see, belonged to another religion. He was a Parsi. And this was something nobody could stand - all of India was against us. They wrote to Gandhi, to my fther, to me. Insults, death threats. Every day the postman arrived with an enormous sack and dumped the letters on the floor. We even stopped reading them; we let a couple of friends read them and tell us what was in them.”

“My fictional worlds were those of a fabulist, of an intellectual fantasist. I was the lawgiver, and the countries and inhabitants of my imagination were answerable to me. If I wished for a man to levitate; to enter another's story by rowboat or by intoning a sentence or by performing a shadow-puppet play; if I wanted him to become a swarm of intelligent elementary particles and enter the Internet and travel into the past and far into the future, it was so.”

“My field-mouse had made a set of brand-new tracks; here and there they etched themselves, following the brown flowers. It seemed as if uncommon spirits had seized their little maker, for sometimes he had leaped a yard, the festive mite! There was no other track pursuing; the leaps must have been mere joy.”

“My fifth mother is Mother Nature - the things I had to learn on my own, the understanding I had to come to and still have to come to as a young woman, as a responsible mother, a responsible granddaughter and child. She teaches me willpower, honesty, and the things we need to heal ourselves from moment to moment.”

“My film is actually very critical of the level of French we're using back home. To have an immigrant from an ancient French colony come and do that is a little critical of our education system back home. Balzac is definitely over their heads. It's meant to be funny also because it would be also probably too much for kids in France, but kids in France would know who Balzac is. But, back home at that age, I guarantee you they don't know who he is.”

“My filmmaking education consisted of finding out what filmmakers I liked were watching, then seeing those films. I learned the technical stuff from books and magazines, and with the new technology you can watch entire movies accompanied by audio commentary from the director. You can learn more from John Sturges' audio track on the 'Bad Day at Black Rock' laserdisc than you can in 20 years of film school. Film school is a complete con, because the information is there if you want it.”

“My filmmaking style of remixing came out of necessity. When I was a film theory student at UC Berkeley in the early 1990s, there were no film production facilities. The only way I learned to tell stories on film was by re-cutting and splicing together celluloid of old movies, early animated films, home films, sound slug - anything I could get my hands on.”

“My films are expressive of a culture that has had the possibility of attaining material fulfillment while at the same time finding itself unable to accomplish the simple business of conducting human lives. We have been sold a bill of goods as a substitute for life. What is needed is reassurance in human emotions; a re-evaluation of our emotional capacities.”

“My films are intended as polemical statements against the American 'barrel down' cinema and its dis-empowerment of the spectator. They are an appeal for a cinema of insistent questions instead of false (because too quick) answers, for clarifying distance in place of violating closeness, for provocation and dialogue instead of consumption and consensus.”