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Outlandish Quotes

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Outlandish Quotes

“There has been a good deal of comment — some of it quite outlandish — about what our postwar requirements might be in Iraq. Some of the higher end predictions we have been hearing recently, such as the notion that it will take several hundred thousand U.S. troops to provide stability in post- Iraq, are wildly off the mark. It is hard to conceive that it would take more forces to provide stability in post-Saddam Iraq than it would take to conduct the war itself and to secure the surrender of Saddam's security forces and his army — hard to imagine.”

“What I find more remarkable, however, is how readily many people in our society believe outlandish and unsubstantiated urban myths and conspiracies (Pop Rocks and Coke, JFK assassination, AIDS is man-made, etc.), yet disregard thousands of personal and consistent testimonies of miracles and near-death experiences from people throughout all cultures and religions.”

“I love stories where the impossible appears believable, plausible and real. Maybe it's silly, but it's one of the reasons Michael Crichton's writing always appealed to me: he took outlandish ideas and made them seem completely within the realm of possibility. I remember reading "Jurassic Park" and feeling like: "Oh, yeah - no, that's totally happening right now. They're bringing back dinosaurs!"”

“Cumulative errors depend largely on the big surprises, the big opportunities. Not only do economic, financial, and political predictors miss them, but they are quite ashamed to say anything outlandish to their clients and yet events, it turns out, are almost always outlandish.”

“In the years since The Life and Extraordinary Adventures of Private Ivan Chonkin, Voinovich has sharpened his satire, and Monumental Propaganda is a novel that slashes and rips -- but not on every page. He expands his narrative to accommodate shrewd philosophy and inventive portraiture, a very amusing disquisition on Soviet latrines and a number of outlandish plot developments. In his translation, Andrew Bromfield deftly shifts his tone and tools as required, remaining true to Voinovich's Vonnegut-like playfulness and appreciation of the absurd.”

“For us, time travel is synonymous for the belief in all the things that are not seen, and also for the most outlandish claim that you could possibly make. To say that you're a time traveler is weirder than saying you're an alien. It's really strange to sit down in a basement and be face-to-face with someone who claims to be a real time traveler. So, for us, it was about the nuts and bolts of what it would be like, if you were face-to-face with someone who claimed to be from the future.”

“The fact is, though, what I think we really like is Marlon Brando, Al Pacino, Robert De Niro and James Gandolfini. We like what the media has created of the mob bosses in movies and TV and books, because it's something the average person never comes into contact with, it's almost as outwardly outlandish as a sexy vampire, and so we can romanticize it, it's non-threatening.”

“I was in the fantasy. I was selling myself on the fantasy as I was doing it. It never occurred to me. I did take notes, but just because I am a writer. I've been a writer since I was five. You don't have any sort of outlandish, shocking, extraordinary, horrifying experience without writing it down, because I know and knew that you forget things. No matter how outrageous and amazing and extraordinary and seemingly unforgettable an experience is, it's kind of like a dream. It will erode inevitably, for me.”

“That was actually Lloyd Phillips who was a Kiwi film producer in L.A. And it was about Gorgeous George, not Haystacks Calhoun. I was in a couple of Lloyd's films and got approached to write the story. People don't realize it, but Gorgeous George had this flamboyant, camp stage persona that had a tremendous influence on other celebrities, like Elton John, Liberace, Elvis Presley, and Mohammed Ali, who all wanted to establish their own outlandish stage personas. The project died because Gorgeous George's wife refused to give up the rights.”

“Generally people are afraid. They pretend they aren’t; it’s part of the denial. We’re all part of it. As much as we pretend otherwise, we want what’s comfortable, and we’re afraid of the different. We’re afraid of change. It happened in Los Angeles, too, when the first models of Disney Hall were shown. You should have heard the outcry from the public, critics and press. It was called “broken crockery,” “outlandish” and blah blah blah. Of course now the feeling is different.”

“The broadcasting industry definitely has changed, and I'm talking about young broadcasters who come along today, they really feel like they have to do something that's outlandish to make them stand out. They have to say something provocative that maybe they don't even really truly believe in their heart and, it's not really what their beliefs are, but they're going to sacrifice their beliefs to try to do something to gain attention.”

“My upbringing was pretty interesting. It was a rigorous, intellectual upbringing, but with the idea that we were a part of an important and legitimate enterprise. What that meant was sitting around the dinner table from a really early age with people from all different backgrounds who believed in God. When I was reporting in the wake of September 11th in Iraq and elsewhere, I felt I had the capacity to talk to people whose beliefs might sound outlandish to more secular journalists. I felt like I could be a translator between those two worlds.”

“For all its rooted loveliness, the world has no continuing city here; it is an outlandish place, a foreign home, a session in via to a better version of itself-and it is our glory to see it so and to thirst until Jerusalem comes home at last. We were given appetites, not to consume the world and forget it, but to taste its goodness and hunger to make it great.”