Famous quotes containing the words idol, cross, headless, martin, eternal, sabbath, black and/or musician:
“Its idea of “production value” is spending a million dollars dressing up a story that any good writer would throw away. Its vision of the rewarding movie is a vehicle for some glamour-puss with two expressions and eighteen changes of costume, or for some male idol of the muddled millions with a permanent hangover, six worn-out acting tricks, the build of a lifeguard, and the mentality of a chicken-strangler.”
—Raymond Chandler (1888–1959)
“It was mankind that hung on the cross for two thousand years: and a terrible god practiced his cruelty and called it “love.””
—Friedrich Nietzsche (1844–1900)
“The headless aftermath ...”
—Robert Frost (1874–1963)
“I learned from the git-go in the joint to get in touch with the soft, nurturing side of myself, the feminine side.”
—Wesley Strick, U.S. screenwriter, and Martin Scorsese. Max Cady (Robert DeNiro)
“Never has any one been less a priest than Jesus, never a greater enemy of forms, which stifle religion under the pretext of protecting it. By this we are all his disciples and his successors; by this he has laid the eternal foundation-stone of true religion; and if religion is essential to humanity, he has by this deserved the Divine rank the world has accorded him.”
—Ernest Renan (1823–1892)
“My paternal grandmother would not light a fire on the Sabbath and piled all Sunday’s washing-up in a bucket, to be dealt with on Monday morning, because the Sabbath was a day of rest—a practice that made my paternal grandfather, the village atheist, as mad as fire. Nevertheless, he willed five quid to the minister, just to be on the safe side.”
—Angela Carter (1940–1992)
“In writing biography, fact and fiction shouldn’t be mixed. And if they are, the fictional points should be printed in red ink, the facts printed in black ink.”
—Catherine Drinker Bowen (1897–1973)
“The mastery of one’s phonemes may be compared to the violinist’s mastery of fingering. The violin string lends itself to a continuous gradation of tones, but the musician learns the discrete intervals at which to stop the string in order to play the conventional notes. We sound our phonemes like poor violinists, approximating each time to a fancied norm, and we receive our neighbor’s renderings indulgently, mentally rectifying the more glaring inaccuracies.”
—W.V. Quine (b. 1908)