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Violence Quotes

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Violence Quotes

“There are so many comics about violence. I'm not entertained or amused by violence, and I'd rather not have it in my life. Sex, on the other hand, is something the vast majority of us enjoy, yet it rarely seems to be the subject of comics. Pornography is usually bland, repetitive and ugly, and, at most, 'does the job.' I always wanted to make a book that is pornographic, but is also, I hope, beautiful, and mysterious, and engages the mind.”

“One of the concepts I was having trouble illustrating was the concept that administrative systems create narrow categories of gender and force people into them in order to get their basic needs met - what I call "administrative violence." I had images of forms with gender boxes and ID cards with gender markers, but I also wanted an image that would capture how basic services like shelters are gender segregated.”

“When I was writing the script, I knew didn't want to make a sports movie. I was very clear that I wanted to make a sibling rivalry story. So when I was writing the script, the football was getting in the way of the drama. One day, I saw Michael Haneke's Funny Games, which is probably the most violent film I've ever seen - but the violence is off camera. When I finished watching the film, I said, 'Hey, that's what I have to do.' Haneke gave me this solution.”

“I asked Shia: who is the guy that terrifies you the most? And he said Mads. So it was somebody we both really wanted to work with. He's intimidating, but has a really big heart and he's sexy. He's got this sexiness, even guys fall for him. He just penetrates everything-not literally. So we needed a brokenhearted thug that could really give us the heartache. And going between the violence and viciousness and the complete softness without making it too much. A lot of those characters can go into a charade, and I needed it to be genuine heartbrokenness and that's what he's great at doing.”

“First of all, let me give my comments on the blasphemy law. This law was introduced by the military dictator General Ziaul Haq. No one demanded the blasphemy law in Pakistan. But he wanted to give protection to his undemocratic rule, dictatorship, by using religion. So Pakistan came into being in 1947, and from 1947 until 1986 no case against any minorities was registered under the protection of the blasphemy law. Nobody from minorities was killed and no act of violence happened [against them].”

“I always wanted to be a part of Nicolas Winding Refn world, but knew he would never make a movie that has a teenage girl as a lead. Obviously not. Then I heard he was and it was in the fashion world. What? Just combining what we think of [with Refn] - masculinity and violence - in his films with that world was so interesting to me.”

“I sat with five of the "Mothers of the Movement." Of course I'm hyping the show, but I keep telling everybody this part is not hype. After a while particularly in the case of Sybrina Fulton, they've become celebrities and people forget that they've become celebrities because of the death, the murder of their child. So I wanted people to see the burning desire for these women to live their child's legacy, to not let their child have died in vain, so they're fighting to stop the violence.”

“As a Mark brand ambassador, I became extremely cognizant of the devastating statistics about dating abuse and partner violence via the mPowerment campaign and knew I wanted to help change those statistics. mPowerment by Mark and the Avon Foundation for Women funded the No More study, which explored dating abuse, partner violence, and sexual assault. I was honored to be part of it and report the results of the survey in a Capitol Hill briefing.”

“[Albert Camus]didn't have much hope that things would work out, but he wanted them to. Algeria had reached such a degree of violence that once such violence is created there's no more room for reflection. And there's no mediating position. If you look at Bosnia today, the Croats, Bosnians and Serbs, they've all created so much horror that one starts to wonder how these peoples can live together, after having done what they have. Already the violence has reached such a degree that everybody is living in hate, there's no possibility of reflection, no mediating position.”

“We shuffle out of office buildings after being laid-off by draconian bosses; we sit on hold for ten minutes only to be told by a supervisor that the charge on our cable bill can't be removed; we click a crying emoji on Facebook as our last whimper of protest. So rather than end the story ["Ice Age"] with the expected violence and destruction of evil, I wanted to focus on the way the characters end up sabotaging their own community though their attachments to the consumerism of the old world.”