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Century Quotes

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Century Quotes

“There is an old song which asserts 'the best things in life are free.' Not true! Utterly false! This was the tragic fallacy which brought on the decadence and collapse of the democracies of the twentieth century; those noble experiments failed because the people had been led to believe that they could simply vote for whatever they wanted...and get it without toil, without sweat, without tears. Nothing of value is free. Even the breath of life is purchased at birth only through gasping effort and pain.”

“For me art is a continuous discovery into reality, an exploration of visual data which has been going on for centuries, each artist contributing to the next generation's advancement. I wanted to go a step further and extend the boundaries.”

“The effort of painting from life has cost my models a great deal of physical discomfort, and cost me a great deal of money in model fees... I have wanted to make the camera obsolete... because, in my reading about early 20th century art, I found that the most frequently used argument made in favor of abstraction was that the camera made realist painting obsolete.”

“Marcel Duchamp, one of this century's pioneers, moved his work through the retinal boundaries which had been established with Impressionism into a field where language, thought and vision act upon one another. There it changed form through a complex interplay of new mental and physical materials, heralding many of the technical, mental and visual details to be found in more recent art... He declared that he wanted to kill art ("for myself") but his persistent attempts to destroy frames of reference altered our thinking, established new units of thought, a "new thought for that object."”

“In the century that has just passed, many of the intellectual elite went mad. It was as if, with the death of God, everyone suddenly turned into a saviour who wanted either to annihilate the obsolete world order or to establish a utopia. Naturally, there were writers among those who went mad. The fact that they had knowledge did not exempt intellectuals: there is madness everywhere. When one loses control over one's self, the result is madness.”

“When the first emperor wanted to unify the country, one of the major policies was to create one system of written signs. By force, brutal force, he eliminated all the other scripts. One script became the official script. All the others were banned. And those who used other scripts were punished severely. And then the meanings of all the characters, over the centuries, had to be kept uniform as a part of the political apparatus. So from the very beginning the written word was a powerful political tool.”

“Everest has a special place in all of our imaginations. For centuries, Everest was a little bit like the moon. It was the place where everyone wanted to go. Empires wanted to be able to say that they were the first to put a climber on top of Everest. So when a tragedy happens up on that mountain, I think it has a global resonance. Everybody's heard of Everest. Everybody knows what Everest is and what it means, and the significance.”

“Something I always wanted to do, to capture that later half of the '70s. It's like the early half of the '70s is still the '60s, in that there's still kind of a playfulness and inventiveness in terms of design and the things that were going on in the culture. The second half, it got much more commodified. It's possibly the ugliest era of architecture and clothes and design in the entire 20th century, from 1975 to '81 or '82.”

“Leaving wasn't a personal thing where I intentionally wanted to stick it to management or anyone. This is business. I felt I should have been rewarded for helping the Indians turn around a half century of losing. It was a shame they decided to treat me that way, after all I did for them. I helped this team go from one-hundred six losses to basically one-hundred six wins and into the World Series. And what do I get for it? Nothing.”

“In the late 19th century there was a major union organization, Knights of Labor, and also a radical populist movement based on farmers. It's hard to believe, but it was based in Texas, and it was quite radical. They wanted their own banks, their own cooperatives, their own control over sales and commerce.”

“The basic idea is that there is this group that, over the centuries, has learned to control reincarnation. John's character stumbles into that realization, and it's a lot closer to him than he would ever have wanted to know. It's a metaphor for when you get in a fight with your significant other and you go, "Who is this?," or you look in the mirror and go, "Why did I say that?" It's the intruder. When you threw a temper tantrum at two years old, it's them.”

“And they stuck to their guns and fought for Sean Connery, and they were right to fight for Sean Connery. If it wasn't for Sean Connery, we wouldn't all be here. I was raised to fight for what I believed in, so I wasn't going to give up. I wanted Daniel Craig, and Michael wanted Daniel Craig, so we just stuck to our guns. Fortunately, we had the right management who really stuck with us. Thanks to that, we got our choice. He's been an extraordinary Bond, and he is very much the right Bond for the 21st century.”

“I felt no obligation to bow to any 21st Century political correctness. What I did feel an obligation to do was to take the 21stCentury viewers and physically transport them back to the ante bellum South in 1858, in Mississippi, and have them look at America for what it was back then. And I wanted it to be shocking.”

“We were terribly excited, and I think we took it on our shoulders that we were creating the 21st century in 1971. That was the idea. And we wanted to just blast everything in the past, rather like the vorticists did at the beginning of the century in the Britain or the dadaists did Europe, you know. It was the same sensibility of everything is rubbish, and all rubbish is wonderful.”

“Although the stories are very present in my book, and very present in my mind, what I was most interested in was the question of why it had attracted such a following in the 18th Century. It's less mysterious that it attracted a following in the Romantic period, and in the 19th Century, but the early 18th Century when the Rationalists fell in love with it...that was mysterious. What I wanted to look at was the forms of enchantment.”

“I wanted to be an artist after all, and my teachers told me these were the best authors the 20th century had to offer. But these books sucked. They were so boring and sloppy and plotless. And Bob Dylan's lyrics seemed nonsensical to me - almost like he had just gotten high and written down whatever random thoughts occurred to him.”

“The best stuff that Cicero wrote, in the first century in Rome, were the Philippics, a series of speeches that he delivered against Marc Antony, whom he thought was irreparably dismantling the Republic of Rome. Those speeches are powerful because they're not only really pointed but they're thrillingly beautiful - and that's precisely what made them dangerous: the fact that people wanted to read them.”

“Sacrifice. I'd never been in a position where I was number one on the call sheet, and everything was in my lap. I worked 16 hour days, and I was just not the lead of any film, it was a film about Jesse Owens, one of the greatest heroes of the 20th century. It was a whole new type of responsibility. It was a big weight, and I wanted to do him justice, especially in reviving him after 80 years.”

“Chemists in earlier centuries were quite interested in the nature of acids. They had no interest in analysing their concept of acid. After all, they knew that their understanding of acids was at a fairly primitive level, and what they wanted to do was understand something about the world better - the nature of acidity - not something about their own concepts.”