Famous quotes containing the words los angeles, los, angeles, airport, police, services, bureau and/or detail:
“Local television shows do not, in general, supply make-up artists. The exception to this is Los Angeles, an unusually generous city in this regard, since they also provide this service for radio appearances.”
—Fran Lebowitz (b. 1950)
“There are two modes of transport in Los Angeles: car and ambulance. Visitors who wish to remain inconspicuous are advised to choose the latter”
—Fran Lebowitz (b. 1951)
“Many people I know in Los Angeles believe that the Sixties ended abruptly on August 9, 1969, ended at the exact moment when word of the murders on Cielo Drive traveled like brushfire through the community, and in a sense this is true. The tension broke that day. The paranoia was fulfilled.”
—Joan Didion (b. 1935)
“Airplanes are invariably scheduled to depart at such times as 7:54, 9:21 or 11:37. This extreme specificity has the effect on the novice of instilling in him the twin beliefs that he will be arriving at 10:08, 1:43 or 4:22, and that he should get to the airport on time. These beliefs are not only erroneous but actually unhealthy.”
—Fran Lebowitz (b. 1950)
“Oh, yes, everything’s fine. I always stop by the police station in the middle of the night to pick up my daughter.”
—Theodore Simonson. Irvin S. Yeaworth, Jr.. Mr. Martin, The Blob, when he comes to pick up Jane (1958)
“O, the difference of man and man!
To thee a woman’s services are due.”
—William Shakespeare (1564–1616)
“We know what the animals do, what are the needs of the beaver, the bear, the salmon, and other creatures, because long ago men married them and acquired this knowledge from their animal wives. Today the priests say we lie, but we know better.”
—native American belief, quoted by D. Jenness in “The Carrier Indians of the Bulkley River,” Bulletin no. 133, Bureau of American Ethnology (1943)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)