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Faces Quotes

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Faces Quotes

“I think that we did a really good thing when we elected Barack Obama. I read his books. He is absolutely and totally qualified for the job. He's proven himself to be not only qualified for the job, but very good at it. The things that he's managed to get accomplished in the face of so much push-back is amazing, and I think - this is Morgan Freeman's personal thought - we're going to be in a lot of trouble if we don't reelect him, because the people on the other side of the fence scare me.”

“The only real reason for self-referencing is the fun factor. It's fun for the writer, getting little peeks at what old characters might be up to. And it's fun for readers to spot a familiar face, or pick up on a made-up book title or something from an earlier story. I don't know that it does -- or even should -- contribute to the story in hand being any better than it would have been without it.”

“I am through generalizing about ideas apart from men who generate them. I am through writing books about the dead, or writing books about the living to the unborn (tucked away as Literature) or writing books about the unborn to the living (whiffed away as prophecy). I put up my life on advertising the living to the living, on making men of genius known to the people and interpreted to their time, that the time in which I live, may live face to face with its men of vision and that they may live face to face with one another.”

“It is incumbent upon the Aghsan, the Afnan and My kindred to turn, one and all, their faces towards the Most Mighty Branch. Consider that which We have revealed in Our Most Holy Book: 'When the ocean of My presence hath ebbed and the Book of My Revelation is ended, turn your faces toward Him Whom God hath purposed, Who hath branched from this Ancient Root.' The object of this sacred verse is none other except the Most Mighty Branch (Abdu'l-Baha). Thus have We graciously revealed unto you our potent Will, and I am verily the Gracious, the All-Powerful.”

“I have no little insight into the feelings of furniture, and treat books and prints with a reasonable consideration. How some people use their pictures, for instance, is a mystery to me; very revolting all the same--portraits obliged to face each other for ever--prints put together in portfolios.”

“I never had a plan, except to write. I love what I do, and have from the beginning. Loving what you do makes it a lot easier to work, every day, to face the tough spots and heel in for the long haul. Nothing against plans; they work for some people. But for me, if I'd been planning, worrying about numbers, trying to micro-manage my career, I wouldn't have focused on the writing. If you don't write, you're not read. If you're not read, you don't sell. So that's my Master Plan, I guess. Write the books, let the agent agent, the editor edit, the publisher publish.”

“But to demand that a work be “relatable” expresses a different expectation: that the work itself be somehow accommodating to, or reflective of, the experience of the reader or viewer. The reader or viewer remains passive in the face of the book or movie or play: she expects the work to be done for her. If the concept of identification suggested that an individual experiences a work as a mirror in which he might recognize himself, the notion of relatability implies that the work in question serves like a selfie: a flattering confirmation of an individual's solipsism.”

“It is an accurate statement that the followers of Witchcraft do not usually proselytize, which means you aren't going to find us standing on your local street corner thumping our Books of Shadows. Nor do you have to worry about jumping out of the shower to answer our serene and smiling faces at the door with your clothes stuck to various uncomfortable places on your wet body. But just because we (hopefully) aren't the forcible type doesn't mean we don't exist.”

“The most superficial fact regarding the 'Discourses,' the fact that the number of its chapters equals the number of books of Livy's 'History,' compelled us to start a chain of tentative reasoning which brings us suddenly face to face with the only New Testament quotation that ever appears in Machiavelli's two books and with an enormous blasphemy.”

“Far away on the path we saw Sir Henry looking back, his face white in the moonlight, his hands raised in horror, glaring helplessly at the frightful thing which was hunting him down. But that cry of pain from the hound had blown all our fears to the winds. If he was vulnerable he was mortal, and if we could wound him we could kill him. Never have I seen a man run as Holmes ran that night.”

“I have done scenes as Harvey Two-Face. It's interesting. I won't tell you exactly what we're going for, but I think that I can say that it will use all of today's technology to create this character. He's going to be interesting, and I think that's what makes this character important in the movie-you get to see him as he was before, as in the comic books. Harvey is a very good guy in the comic books. He's judicious. He cares. He's passionate about what he loves and then he turns into this character. So you will see that in this film.”

“There was a small boy on crutches. I do not know his name, and I suspect I never will. But I will never forget his face, his smile, his sorrow. He is one of the millions robbed of hope and dignity by charlatans discussed in this book. Wherever and whoever he is, I apologize to him for not having been able to protect him from such an experience. I humbly dedicate this book to him and to the many others who have suffered because the rest of us began caring too late.”

“Carl Jung tells in one of his books of a conversation he had with a Native American chief who pointed out to him that in his perception most white people have tense faces, staring eyes, and a cruel demeanor. He said: “They are always seeking something. What are they seeking? The whites always want something. They are always uneasy and restless. We don't know what they want. We think they are mad.”

“There are houses in certain provincial towns whose aspect inspires melancholy, akin to that called forth by sombre cloisters, dreary moorlands, or the desolation of ruins. Within these houses there is, perhaps, the silence of the cloister, the barrenness of moors, the skeleton of ruins; life and movement are so stagnant there that a stranger might think them uninhabited, were it not that he encounters suddenly the pale, cold glance of a motionless person, whose half-monastic face peers beyond the window-casing at the sound of an unaccustomed step.”

“a novelist's chief desire is to be as unconscious as possible. He has to induce in himself a state of perpetual lethargy. He wants life to proceed with the utmost quiet and regularity. He wants to see the same faces, to read the same books, to do the same things day after day, month after month, while he is writing, so that nothing may break the illusion in which he is living - so that nothing may disturb or disquiet the mysterious nosings about, feelings around, darts, dashes, and sudden discoveries of that very shy and illusive spirit, the imagination.”

“A book becomes a mirror, with the author's face shining over it. Talent only gives an imperfect image,--the broken glimmer of a countenance. But the features of genius remain unruffled. Time guards the shadow. Beauty, the spiritual, Venus,--whose children are the Tassos, the Spensers, the Bacons,--breathes, the magic of her love, and fixes the face forever.”

“Life's so brief,” she goes on. “We're, at every juncture, staring mortality in the face. It's the very least we can do if we think it will be of any interest or value, to share the past. And although mine's been crooked, it's also been splendid. It's taught me to be vulnerable and humble, to write this book.”