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All O Quotes

“On one hand you have a string quartet, which is not a symphony. On the other hand is you have me sampling them and making it sound like there is many more people playing, so the whole notion of, kind of, sampling applied to classical music is very intriguing to me because composers throughout history have borrowed motifs and quotes from one another.”

“On one hand, I kind of feel like I have unlimited options right now, and obviously that's not technically true, but when you're at this place where you're just kind of dreaming up stuff, your imagination is your limit. That's where I'm at, which is great, but ultimately I think you have to make these decisions to close off some options to yourself. I think things only get done when you say, "This is the one thing I'm doing," and you kind of kill the other ones in the meantime. So I haven't done that yet, I've got to figure that out.”

“On one hand, prostitutes don't struggle because it's simply their life. In Mexico and elsewhere, once they get out of these places [brothels] they have a pretty square life. In Bangladesh it's different because they live in the brothel, it's sort of a prison, but still there are two sides. When they think of their religion and their upbringing, they can be very moralistic. They're moralistic about giving blow jobs. On the other hand, they have an everyday life where there's no room for shame.”

“On one hand, we know that everything happens for a reason, and there are no mistakes or coincidences. On the other hand, we learn that we can never give up, knowing that with the right tools and energy, we can reverse any decree or karma. So, which is it? Let the Light decide, or never give up? The answer is: both.”

“On one level, accepting that I was one of several — possibly hundreds of — personalities turned my head inside out. It was like trying to catch your breath standing under a waterfall. There was too much information to take it all in at once. I needed time to process - but time was the thing I was always missing. On the other hand, it explained so much I felt a weight rise from my shoulders. It wasn't like the diagnosis for schizophrenia, which I'd always instinctively known was wrong. This feels right.”

“On one level my sense of despair had been dispelled by therapy, yet on another it had not been replaced by either the desire for a future or the concept of one. I felt more aware of who I was, but that in itself-dominated as it was by sensations of fragmentation and isolation-filled me with no great hope, and in many ways only fuelled an appetite for destruction.”

“On one level, the poems after Verlaine in this collection are a selfish project. I wanted to try on a voice with which, despite sharing some stylistic and tonal sympathies, I seemed to have little in common. It served as a psychodramatic exercise, a walk in somebody else’s shoes. Writing each new poem while drawing on the raw material of Verlaine in translation has led me, in the always dramatised context of the individual poem, to think and say things I’d likely never have dreamed of otherwise. But just as importantly, I hope these poems paint a fresh portrait of Paul Verlaine, however partial and sketchy, that reveals him to be a more surprising, hard-thinking, and even revivifying poet than expected. Beyond his skilled conjuring of delicate and atmospheric allusiveness, at its best, his is also poetry of punchy musicality, philosophical edge, and candidness – both intellectual and emotional – which allows for genuine beauty, sensuality, and sadness.”

“On one level, the poems after Verlaine in this new book are a selfish project. I wanted to try on a voice with which, despite sharing some stylistic and tonal sympathies, I seemed to have little in common. It served as a psychodramatic exercise, a walk in somebody else’s shoes. Writing each new poem while drawing on the raw material of Verlaine in translation has led me, in the always dramatised context of the individual poem, to think and say things I’d likely never have dreamed of otherwise. But just as importantly, I hope these poems paint a fresh portrait of Paul Verlaine, however partial and sketchy, that reveals him to be a more surprising, hard-thinking, and even revivifying poet than expected. Beyond his skilled conjuring of delicate and atmospheric allusiveness, at its best, his is also poetry of punchy musicality, philosophical edge, and candidness – both intellectual and emotional – which allows for genuine beauty, sensuality, and sadness.”

“On one level, I'm interested in how the space dictates the effect visually - how the composition of a given work changes depending on the nature of each wall. But I'm also trying to emphasize less tangible elements: the amount of time it takes to walk the gallery's perimeter; how one's physical distance affects his or her sense of the overall composition; how the size of the space creates a sense of visual rhythm. It's really a matter of seeing how much structure is necessary to impose for those things to become apparent.”

“On one occasion, an ancient great-aunt of mine, hieratically assuming a head-dress of feather and globules of jet, required me to accompany her to the beehives. ‘But you surely don't need a hat, Aunt Jane! They're only at the end of the garden.’ ‘It is the custom,’ she said, grandly. ‘Put a scarf over your head.’ Arrived, she stood in silence for a moment. Then — ‘I have to tell you,’ she said, formally, ‘that King George V is dead. You may be sorry, but I am not. He was not an interesting man. Besides,’ she added — as though the bees needed the telling! — ‘everyone has to die’.”

“On one occasion I got this really bizarre horoscope thing from someone. It was a full-on zodiac reading, charting and intersecting all this stuff. It was over 20 pages long and said we're destined to be together. That was totally bizarre. I don't really believe in that stuff anyway, although I do believe in Karma because it's already bitten me on the ass so many times.”

“On one occasion, the principal sent me a message that a British girl would be sitting behind me, and that I should be helpful to her during the exam. Ironically, that girl had been sent back to Peshawar by expat parents for an arranged marriage. She was finding it hard to adjust to the conservative environment of Peshawar. The man she ended up marrying had put in a proposal to my family for me a year earlier. I had thought this man from Charsadda would not let me continue my education or have a career. Seeing him as a backward Pashtun, I had refused. A few years later, I bumped into the same girl. She had become a judge, and was madly in love with her rather progressive Pashtun husband, while I had found myself under lock-and-key in good old England.”

“On one occasion, Daniel Day-Lewis, Jeremy Irons and myself were due to appear at the Sarajevo film festival and were turned off a UN plane on orders from Geneva. We had to get local journalists to transport the films in for us. I tell you this only to demonstrate that festivals can be a lifeline. But, after all the difficulties I'd had in getting there, in 1996 I found myself being flown in on a four-seater RAF plane as an official guest, endorsed by the British Embassy. Ironically, the film I was to present was Mission: Impossible.”

“On one of my birthdays I did 1,000 chin-ups and 1,000 push-ups. For my 70th birthday I towed 70 boats with 70 people in it, my feet and hands tied-my hands were in handcuffs, my feet were tied together-and I towed these boats a mile-and-a-half in Long Beach Harbor. For my 93rd birthday I'm going to tow my wife across the bathtub.”

“On one of those nights in January 2014, we sat next to each other in Maria Vostra, happy and content, smoking nice greens, with one of my favorite movies playing on the large flat-screen TVs: Once Upon a Time in America. I took a picture of James Woods and Robert De Niro on the TV screen in Maria Vostra's cozy corner, which I loved to share with Martina. They were both wearing hats and suits, standing next to each other. Robert de Niro looked a bit like me and his character, Noodles, (who was a goy kid in the beginning of the movie, growing up with Jewish kids) on the picture, was as naive as I was. I just realized that James Woods—who plays an evil Jewish guy in the movie, acting like Noodles' friend all along, yet taking his money, his woman, taking away his life, and trying to kill him at one point—until the point that Noodles has to escape to save his life and his beloved ones—looks almost exactly like Adam would look like if he was a bit older. “All the world's a stage, and all the men and women merely players. They have their exits and their entrances; And one man in his time plays many parts.” – William Shakespeare That sounds like an ancient spell or rather directions, instructions to me, the director instructing his actors, being one of the actors himself as well, an ancient spell, that William Shakespeare must have read it from a secret book or must have heard it somewhere. Casting characters for certain roles to act like this or like that as if they were the director’s custom made monsters. The extensions of his own will, desires and actions. The Reconquista was a centuries-long series of battles by Christian states to expel the Muslims (Moors), who had ruled most of the Iberian Peninsula since the 8th century. The Reconquista ended on January 2, 1492. The same year Columbus, whose statue stands atop a Corinthian custom-made column down the Port at the bottom of the Rambla, pointing with his finger toward the West, had discovered America on October 12, 1492. William Shakespeare was born in April 1564. He had access to knowledge that had been unavailable to white people for thousands of years. He must have formed a close relationship with someone of royal lineage, or used trick, who then permitted him to enter the secret library of the Anglican Church. “A character has to be ignorant of the future, unsure about the past, and not at all sure what he/she’s supposed to be doing.” – Anthony Burgess Martina proudly shared with me her admiration for the Argentine author Julio Cortazar, who was renowned across South America. She quoted one of his famous lines, saying: “Vida es como una cebolla, hay que pelarla llorando,” which translates to “Life is like an onion, you have to peel it crying.” Martina shared with me her observation that the sky in Europe felt lower compared to America. She mentioned that the clouds appeared larger in America, giving a sense of a higher and more expansive sky, while in Europe, it felt like the sky had a lower and more limiting ceiling. “The skies are much higher in Argentina, Tomas, in all America. Here in Europe the sky is so low. In Argentina there are huge clouds and the sky is huge, Tomas.” – Martina Blaterare “It was curious to think that the sky was the same for everybody, in Eurasia or Eastasia as well as here. And the people under the sky were also very much the same--everywhere, all over the world, hundreds or thousands of millions of people just like this, people ignorant of one another’s existence, held apart by walls of hatred and lies, and yet almost exactly the same--people who had never learned to think but were storing up in their hearts and bellies and muscles the power that would one day overturn the world.” – George Orwell, 1984”

“On one planet [earth], and possibly only one planet in the entire universe, molecules that would normally make nothing more complicated than a chunk of rock, gather themselves together into chunks of rock-sized matter of such staggering complexity that they are capable of running, jumping, swimming, flying, seeing, hearing, capturing and eating other such animated chunks of complexity; capable in some cases of thinking and feeling, and falling in love with yet other chunks of complex matter.”

“On one side of the tracks was the commercial center: the college, city hall, businesses, white residential neighborhoods-carefully kept that way, first by deliberate redlining and later by Jim Crow... Through the sixties, the city of Commerce was known as a "sundown town"- any Black person found of the streets after dark was in danger of being lynched. The only place where Black citizens were safe from the threat of white violence was also the only place Black people were legally allowed to reside: Norris Community, known fondly by younger generations as "the Hole".”

“On one side there are cowardly prime ministers, presidents, queens, kings who lock themselves in their castles, palaces and rooms! On the other hand, there are honourable statesmen who visit hospitals after taking necessary personal precautions! Honourable politician is the person who is at the front of the front in times of great crisis like corona pandemic!”