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“There's something exhilarating about telling stories that haven't been shared before and haven't been told publicly before. The last thing I want to be doing is telling stories other people have already told. That's not to say that there isn't important work out there about people in positions of power, but I know my strength. Even when I was at the Wall Street Journal 10 years ago, this is what I wrote about.”

“I think there's an interest right now in the performance aspect of artworks, instead of just hanging things on walls. We're in a moment when a lot of younger artists are looking at work from the '60s and '70s - they are looking at the pieces by Marina Abramovic or Vito Acconci. These pieces have a time element. They were performed live. To perform them again now isn't simply an homage, because it's a different audience, a different moment.”

“I would say that I learned that the heartbreak wasn't as much about me as the fact that my partner wasn't right with himself. I see where his life has taken him, and realize that the handwriting was on the wall. There were things that I had blamed myself for, but it was really more about his choices, his needs and his journey as a person. His desire for too much of everything made it a challenging relationship.”

“The Iranian government has become pretty open about the drug problem in recent years. Opium use is a very traditional, cultural thing in Iran, so the government is actually more open about it than they are about some of the other ills in society. They just don't want to talk about things that might relate to a Western lifestyle even though they know that Iranians indulge. Because there is no real public life left in Iran - people go and have dinner and then everything retreats behind these Persian walls.”

“The legacy of Ronald Reagan will live on forever. I, of course, had the wonderful opportunity of working with him and getting to know him personally. A more wonderful person you couldn't meet. I think the coming down of the Berlin Wall will always live in infamy. I treasure his friendship and appreciate so much what he did for me personally and for the issue of reducing gun violence.”

“I didn't choose to be a guitar player. That was something that felt like it was chosen for me. And with that blessing and curse, I, throughout my entire career, it's been my job to weave my convictions into my vocation. And whether I'm standing in the streets of Chicago or the Occupy Wall Street or in Madison, Wisconsin, my job is to steel the backbone of people on the frontlines of social justice struggles, and to put wind in sails of those struggles. And people who are fighting on a, on a daily basis, at a grass roots level, for the things that I believe in.”

“I think that all art is socially conscious. There is no alternative. Whatever we produce contains a political and social statement. There's no way to avoid that, unless it is pure decoration. But even pure decoration has also some value because you can read pure decoration as a way to ignore the reality that is around us, saying, "Well, I'm not interested. I just like to paint this wall blue.”

“We've got to have all those tools. The Patriot Act tearing down those walls between intel and law enforcement are a necessary part of protecting the country. But, in the long term, the only way to defeat this terrorist bunch is through the spread of liberty and freedom. And that's a big challenge. I understand it's a challenge. It requires commitment and patience and persistence.”

“On one level, I'm interested in how the space dictates the effect visually - how the composition of a given work changes depending on the nature of each wall. But I'm also trying to emphasize less tangible elements: the amount of time it takes to walk the gallery's perimeter; how one's physical distance affects his or her sense of the overall composition; how the size of the space creates a sense of visual rhythm. It's really a matter of seeing how much structure is necessary to impose for those things to become apparent.”

“A company that was I think the one I learned the most from in Wall Street 2, just in terms of my own character in and the kind of firm he worked in, was John Thomas Financial. There it's like warriors in an arena getting ready for battle. Thomas Belesis just fires these guys up like there is no tomorrow, and I absolutely got addicted to that optimism and adrenaline and that "We're going to do it, we're going to do it, buddy" kind of attitude that he had.”

“I had a lot of preconceived notions going in the Wall Street. It wasn't an industry that I really respected much. My feeling was kind of like look, you're not making anything. You're taking money from one place, putting it in another and taking your cut and that's just not really kind of soul-satisfying at the end of the day, but what I learned is, on a larger scale is how much the Wall Street industry funnels and fuels so many others. There is a lot of good that these guys do, and to lump all traders into a category is as insane as lumping any group of people into one category.”

“I mean I think one of the larger problems going on right now is, debate has replaced discussion. As I say you can't lump Wall Street into one category. That doesn't mean anything. Every firm has a different attitude and does different things and puts their cherries in certain places and their money in others. Some are vicious, nasty, I will cut you down at all costs to make a buck, some have a much higher moral standard.”

“My hope is that the film Wall Street 2 will actually serve as a way for us to bridge that gap between Wall Street and Main Street. Certainly that's dealt with in the film of how it does affect everybody, so, you know, I always find that when you can create a movie or a play or a book that gives somebody a safe theoretical place to discuss what is really going on in the day it tends to forward discussion, so that would be my hope coming out of the film.”

“Most people look at a feature film and say, "It's just a movie." For me there is no border or wall between fiction and documentary filmmaking. In documentaries, you have to deal with real people and their real feelings - you are working with real laughter, happiness, sadness. To try to reflect the reality is not the same as reality itself. That's why I think that making a good documentary is much harder than making a good feature film.”

“I don't really stay away from politics but the bullshit just gets to be too much. Any political tweets I take down after an hour or so. They are met with such a wall of stupidity and anger, it is hardly worth it to leave it up. Particularly, if you say anything about Hillary Clinton, the responses are just nuts - "YOU JUST FEAR SMART, STRONG WOMEN, MR. MAN".”

“Seeing and playing with physical objects can enable access to symbolic ideas. When I studied physics and math at university it was all done through equations and textbooks whereas artists go to art school and start making stuff; they fling paint at the walls, they dance and bash things together with giant bits of metal. Our society has come to think of science as being a very abstractified thing, and art as being a materialized thing.”

“Wall Street is a huge issue. And it's controlling our lives today with this so-called election - we really have no choice. We're really just onlookers. The national surveillance state has not been debated by any candidates, Democratic or Republican. Our wars, our repeated wars - our new war in Syria has not been brought up because everyone agrees essentially that we have to continue doing what we're doing. And maybe even now go back to Libya.”

“My schooling was very conservative. I went to Trinity School, and then to the Hill School, which is a boarding school, then to Yale. My parents got divorced in that period, and I realized I didn't have a life anymore. I was the only child, so a three-person family breaks apart. I ended up very conformist, very scared, very lonely. I couldn't go on with Yale, just couldn't do it. I'd been doing too much of that for too long. I didn't know what I wanted, but I knew what I didn't want, which was to go to Wall Street and join the crowd there.”

“I don't really know what's going to happen 10,000 years from now. We've been biologically modern for, what, almost 200,000 years? Let's go back to the cave paintings: I think the moment that someone landed a charcoal on a wall to describe reality, that's language already - that happened on a vertical surface, which, even though they didn't build it, somehow we could understand it as architecture because there's a cavity that separates the inside and outside. That's 40,000 years in the past.”

“When I stopped touring, it was like trying to stop a bullet train or a giant lead ball falling from a 100 stories up - it's momentum and it doesn't just stop. I drew a line in the calendar and made it a brick wall and just stopped dead. There was no other way. It would've taken another 100 years to slow down slowly. I had to let myself imagine a calendar with no lines; when every single day is being predetermined six months in advance, there's no more fluidity to time.”

“When we think about Islamic feminism, it is not just about women's rights. It's about a more progressive and tolerant expression of Islam in the world for all people. Women's rights is one aspect of it, it's not the end-all, but I also think that the women's issue is the strongest entry point that we've got to challenging extremism. You raise a woman's issue and you get the backs of the conservatives up against the wall faster than just about any other issue in our community. It's the fastest path that we've got to making change happen.”

“Mr. Donald Trump talking about the US Mexican border, he's not doing anything new or unusual. It's something that's very much in the air and perhaps always has been. The Great Wall of China has been there for a great long time. People have always tried to keep foreigners out. There is a very natural desire, once you've got somewhere cozy, to keep it to yourself, and equally there's a very strong impulse for those who are not at such a safe and prosperous place to try and get in. It's been creating conflict throughout human history.”

“I actually think history doesn't repeat itself. There are recurrent themes, but they're repeated with variations. Each time there's an immigration crisis, a threat from outside which is met with inhospitable wall building, it's different. And I think it's helpful to notice the big patterns in history, but it's also important to pay attention to the details, which makes each situation distinct from another.”

“I believe there is a moment growing up when you build your own mood board. You do a collage - you collect a few things, a few images that will be so important for your future choices. Not only aesthetic, or what you like for dressing, but your artistic choices. The room where I put papers and pictures and posters on the walls when I was a kid, it's still very strong in my head today. This movie poster or that portrait of a girl I took from a magazine, deep inside, is inspiration that comes back all the time.”

“Women and LBGT people have the advantage that they are everybody's son, daughter, cousin, nephew, aunt, uncle. They are in a position to change hearts, and you saw it happen actually. African-Americans, not so much. They are separated from the white oppressive population by geography, housing, segregation, centuries of slavery. There is a tremendous wall between black America and white. I would say you open the door with the force of law, and then you can start to change hearts.”

“When technology is used as a gimmick it can be a terrible distraction. The trick is to harness technology in a way that empowers the audience, informs them and brings them closer to the action. CNN has always been an innovator on election night, with the Magic Wall leading the way. Tonight, for the first time, and we're going to put the Magic Wall in the hands of our audience. Along with our partners at Microsoft, we have built a tool to let our users drill down into the key races and access a great deal of data, real time, as the results are unfolding.”

“Every two years the American politics industry fills the airwaves with the most virulent, scurrilous, wall-to-wall character assassination of nearly every political practitioner in the country - and then declares itself puzzled that America has lost trust in its politicians.”