Quotes 21 till 40 of 61.
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For those who live neither with religious consolations about death nor with a sense of death (or of anything else) as natural, death is the obscene mystery, the ultimate affront, the thing that cannot be controlled. It can only be denied.
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Guns have metamorphosed into cameras in this earnest comedy, the ecology safari, because nature has ceased to be what it always had been - what people needed protection from. Now nature tamed, endangered, mortal - needs to be protected from people.
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I do not think white America is committed to granting equality to the American Negro... this is a passionately racist country; it will continue to be so in the foreseeable future.
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I envy paranoids; they actually feel people are paying attention to them.
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In America, the photographer is not simply the person who records the past, but the one who invents it.
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In good films, there is always a directness that entirely frees us from the itch to interpret.
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In most modern instances, interpretation amounts to the philistine refusal to leave the work of art alone. Real art has the capacity to make us nervous. By reducing the work of art to its content and then interpreting that, one tames the work of art. Interpretation makes art manageable, conformable.
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In the final analysis, ''style'' is art. And art is nothing more or less than various modes of stylized, dehumanized representation.
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Interpretation is the revenge of the intellect upon art. Even more. It is the revenge of the intellect upon the world. To interpret is to impoverish, to deplete the world - in order to set up a shadow world of ''meanings.''
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It is not altogether wrong to say that there is no such thing as a bad photograph - only less interesting, less relevant, less mysterious ones.
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It is not suffering as such that is most deeply feared but suffering that degrades.
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It is the nature of aphoristic thinking to be always in a state of concluding; a bid to have the final word is inherent in all powerful phrase-making.
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It's a pleasure to share one's memories. Everything remembered is dear, endearing, touching, precious. At least the past is safe - though we didn't know it at the time. We know it now. Because it's in the past; because we have survived.
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Jews and homosexuals are the outstanding creative minorities in contemporary urban culture. Creative, that is, in the truest sense: they are creators of sensibilities. The two pioneering forces of modern sensibility are Jewish moral seriousness and homosexual aestheticism and irony.
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Much of modern art is devoted to lowering the threshold of what is terrible. By getting us used to what, formerly, we could not bear to see or hear, because it was too shocking, painful, or embarrassing, art changes morals.
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Nature in America has always been suspect, on the defensive, cannibalized by progress. In America, every specimen becomes a relic.
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Perversity is the muse of modern literature.
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Religion is probably, after sex, the second oldest resource which human beings have available to them for blowing their minds.
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Science fiction films are not about science. They are about disaster, which is one of the oldest subjects of art.
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Simultaneously, my two biggest heroes are Susan Sontag and Morticia Addams from 'The Addams Family.'
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