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“Does it seem all but incredible to you that intelligence should travel for two thousand miles, along those slender copper lines, far down in the all but fathomless Atlantic; never before penetrated … save when some foundering vessel has plunged with her hapless company to the eternal silence and darkness of the abyss? Does it seem … but a miracle … that the thoughts of living men … should burn over the cold, green bones of men and women, whose hearts, once as warm as ours, burst as the eternal gulfs closed and roared over them centuries ago?”

“Past, n. That part of Eternity with some small fraction of which we have a slight and regrettable acquaintance. A moving line called the Present parts it from an imaginary period known as the Future. These two grand divisions of Eternity, of which the one is continually effacing the other, are entirely unlike. The one is dark with sorrow and disappointment, the other bright with prosperity and joy.... Yet the Past is the Future of yesterday, the Future is the Past of to-morrow. They are one-the knowledge and the dream.”

“I look at the natural geological record as a history of the world imperfectly kept and written in a changing dialect; of this history we possess the last volume alone, relating only to two or three countries. Of this volume, only here and there a short chapter has been preserved; and of each page, only here and there a few lines.”

“There are two options for any society: total prohibition as in a totalitarian state, or total license. Both avoid the ardours of decision. Both have the attraction of certainty. The difficult option is to decide where the line should be drawn and this, surely, is the responsiblity of any civilized and democratic country.”

“Why do people go to the cinema? What takes them into a darkened room where, for two hours, they watch the play of shadows on a sheet? The search for entertainment? The need for a kind of drug? ..I think that what a person normally goes to the cinema for is time: for time lost or spent or not yet had. He goes there for living experience; for cinema, like no other art, widens, enhances and concentrates a person’s experience-and not only enhances it but makes it longer, significantly longer. That is the power of cinema: ‘stars’, story-lines and entertainment have nothing to do with it.”

“The two black lines on the armband means that they're the deceased's family. One line means they are either friends or acquaintances. One line of the arm, one line on the heart. The bastards who stood by my side with two lines, they'll be the hardest farewells I'll have to make in my life, and they're the luckiest fortune I've met in my lifetime.”

“[While designing] I'm mixing two lines of thought really: me as a designer for women and then me as a man. At the start of the design process it's the designer for women that comes to the forefront - sketching and revising the silhouette. Then the man comes into the picture - and I look at the shoe from a very masculine point of view. Then there is a conflict between the two sides of me. Sometimes the man wins, and sometimes the designer wins.”

“It's a fine line of doing what's good for your life and what your parents want you to do, but also following your dreams. With my parents, when I was younger, I always had to do two things. If I was acting, I always had to do a sport or something on the arts side of things, along with that. That way, if one fell apart, I always had something else to fall back on.”

“You go into the office and take a book or two from the shelves. You read a few lines, like your life depended on reading 'em right. But you know your life doesn't depend on anything that makes sense, and you wonder where in the hell you got the idea it did; and you begin to get sore.”

“The beginning of Christendom, is, strictly, at a point out of time. A metphysical trigonometry finds it among the spiritual Secrets, at the meeting of two heavenward lines, one drawn from Bethany along the Ascent of the Messias, the other from Jerusalem against the Descent of the Paraclete. That measurement, the measurement of eternity in operation, of the bright cloud and the rushing wind, is, in effect, theology.”