Quotes for 1/9/2012

• Ëåãêàÿ æèçíü íè÷åìó íå ó÷èò. À ãëàâíîå â íàñ - ýòî íàêîïëåííûé íàìè îïûò: ÷åìó ìû íàó÷èëèñü è êàê ìû âûðîñëè. (Richard Bach) [experience]
• Abstract painting is abstract. It confronts you. There was a reviewer a while back who wrote that my pictures didn't have any beginning or any end. He didn't mean it as a compliment, but it was. (Jackson Pollock)
• Bums are the well-to-do of this day. They didn't have as far to fall. (Jackson Pollock)
• Every good painter paints what he is. (Jackson Pollock)
• He drove his kind of realism at me so hard I bounced right into nonobjective painting. (Jackson Pollock)
• I continue to get further away from the usual painter's tools such as easel, palette, brushes, etc. (Jackson Pollock)
• I don't work from drawings. I don't make sketches and drawings and color sketches into a final painting. (Jackson Pollock)
• I hardly ever stretch the canvas before painting. (Jackson Pollock)
• I have no fear of making changes, destroying the image, etc., because the painting has a life of its own. (Jackson Pollock)
• I'm very representational some of the time, and a little all of the time. But when you're painting out of your unconscious, figures are bound to emerge. (Jackson Pollock)
• It doesn't make much difference how the paint is put on as long as something has been said. Technique is just a means of arriving at a statement. (Jackson Pollock)
• It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well. (Jackson Pollock)
• My painting does not come from the easel. (Jackson Pollock)
• My paintings do not have a center, but depend on the same amount of interest throughout. (Jackson Pollock)
• New needs need new techniques. And the modern artists have found new ways and new means of making their statements... the modern painter cannot express this age, the airplane, the atom bomb, the radio, in the old forms of the Renaissance or of any other past culture. (Jackson Pollock)
• On the floor I am more at ease. I feel nearer, more part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting. (Jackson Pollock)
• Painting is self-discovery. Every good artist paints what he is. (Jackson Pollock)
• The modern artist is working with space and time, and expressing his feelings rather than illustrating. (Jackson Pollock)
• The modern artist... is working and expressing an inner world - in other words - expressing the energy, the motion, and other inner forces. (Jackson Pollock)
• The painting has a life of its own. I try to let it come through. (Jackson Pollock)
• The strangeness will wear off and I think we will discover the deeper meanings in modern art. (Jackson Pollock)
• Today painters do not have to go to a subject matter outside of themselves. Most modern painters work from a different source. They work from within. (Jackson Pollock)
• When I am in my painting, I'm not aware of what I'm doing. (Jackson Pollock)
• When I say artist I mean the man who is building things - creating molding the earth - whether it be the plains of the west - or the iron ore of Penn. It's all a big game of construction - some with a brush - some with a shovel - some choose a pen. (Jackson Pollock)
• When I'm painting, I'm not aware of what I'm doing. It's only after a get acquainted period that I see what I've been about. I've no fears about making changes for the painting has a life of its own. (Jackson Pollock)
• When I am in a painting, I'm not aware of what I'm doing. It is only after a sort of 'get acquainted' period that I see what I have been about. I have no fears about making changes, destroying the image, etc, because the painting has a life of its own. I try to let it come through. It is only when I lose contact with the painting that the result is a mess. Otherwise there is pure harmony, an easy give and take, and the painting comes out well. (Jackson Pollock)
• The modern artist…is working and expressing an inner world – in other words – expressing the energy, the motion, and other inner forces. (Jackson Pollock)
• It [abstract art] should be enjoyed just as music is enjoyed – after a while you may like it or you may not. (Jackson Pollock)
• [A canvas is] an arena in which to act. (Jackson Pollock)
• How do you know when you're finished making love? [responding to the question: How do you know when you're finished?] (Jackson Pollock)
• I continue to get further away from the usual painter’s tools such as easel, palette, brushes, etc. I prefer sticks, trowels, knives and dripping fluid paint or a heavy impasto with sand, broken glass or other foreign matter added. (Jackson Pollock)
• When I am painting I have a general notion as to what I am about. I can control the flow of paint: there is no accident. (Jackson Pollock)
• New needs need new techniques. And the modern artists have found new ways and new means of making their statements ... the modern painter cannot express this age, the airplane, the atom bomb, the radio, in the old forms of the Renaissance or of any other past culture. (Jackson Pollock)
• Abstract painting is abstract. It confronts you. (Jackson Pollock)
• When I say artist I mean the man who is building things -- creating molding the earth -- whether it be the plains of the west -- or the iron ore of Penn. It's all a big game of construction -- some with a brush -- some with a shovel -- some choose a pen. (Jackson Pollock)
• What does the painting mean? (Jackson Pollock)
• It’s all a big game of construction, some with a brush, some with a shovel, some choose a pen. (Jackson Pollock)
• The method of painting is the natural growth out of a need. I want to express my feelings rather than illustrate them. (Jackson Pollock)
• It doesn't matter how the paint is put on, as long as something is said. (Jackson Pollock)
• On the floor I am more at ease. I feel nearer, more a part of the painting, since this way I can walk around it, work from the four sides and literally be in the painting. (Jackson Pollock)
• The modern artist is working with space and time and expressing his feelings rather than illustrating. (Jackson Pollock)
• When I'm painting, I'm not aware of what I'm doing. It's only after a get acquainted period that I see what I've been about. (Jackson Pollock)
• The painting has a life of its own. (Jackson Pollock)
• It doesn't make much difference how the paint is put on as long as something has been said. Technique is just a means of arriving at a statement (Jackson Pollock)
• Today painters do not have to go to a subject matter outside of themselves. Most modern painters work from a different source. They work from within (Jackson Pollock)
• When I am in a painting, I'm not aware of what I'm doing. (Jackson Pollock)
• It is only after a sort of 'get acquainted' period that I see what I have been about. (Jackson Pollock)
• I have no fears about making changes, destroying the image, etc, because the painting has a life of its own. (Jackson Pollock)
• I try to let it come through. It is only when I lose contact with the painting that the result is a mess. (Jackson Pollock)
• Otherwise there is pure harmony, an easy give and take, and the painting comes out well." (Jackson Pollock)
• [A canvas is] "an arena in which to act. (Jackson Pollock)
• Balancing a nominal budget will solve nothing, and attempting to achieve such a spurious balance will produce much mischief. (William Spencer Vickrey)
• Currently a level of unemployment of 7 percent or more seems to be required to keep inflation from accelerating, a level quite unacceptable as a permanent situation. (William Spencer Vickrey)
• Deficits do not in themselves produce inflation, nor does a balanced budget assure a stable price level. (William Spencer Vickrey)
• Don't you think you're just rearranging deck chairs on the Titanic? (William Spencer Vickrey)
• Firms would be given initial entitlements to gross markup on the basis of past performance. These entitlements would be transferable and a market in them would be developed. (William Spencer Vickrey)
• I define genuine full employment as a situation where there are at least as many job openings as there are persons seeking employment, probably calling for a rate of unemployment, as currently measured, of between 1 and 2 percent. (William Spencer Vickrey)
• If unemployment could be brought down to say 2 percent at the cost of an assured steady rate of inflation of 10 percent per year, or even 20 percent, this would be a good bargain. (William Spencer Vickrey)
• Increasingly prices are set by sellers to raise their prices without a loss of sales sufficient to wipe out the gain. (William Spencer Vickrey)
• It's insane to try to balance the budget. (William Spencer Vickrey)
• Larger deficits are necessary and proper means to mitigate unemployment as the far greater evil in terms of human welfare. (William Spencer Vickrey)
• Nearly all educational expenditure should be considered a capital outlay, whether it provides a future return in the form of enhanced taxable income or in terms of an enhanced quality of life. (William Spencer Vickrey)
• Practically, the desirable situation ought to be one in which any reasonably responsible person willing to accept available employment can find a job paying a living wage within 48 hours. (William Spencer Vickrey)
• The great increase in longevity has produced a surge in the desire to accumulate assets for retirement. It has outpaced the ability of the private sector to produce assets, so we need a larger government debt. (William Spencer Vickrey)
• The insane pursuit of the holy grail of a balanced budget in the end is going to drive the economy into a depression. (William Spencer Vickrey)
• The nominal budget is a poor indicator of the impact of government outlays and revenues. (William Spencer Vickrey)
• The supply-side effect of a restrictive monetary policy is likely to be perverse, in that high interest rates enter into costs and thus exert inflationary pressure. (William Spencer Vickrey)
• There is no real justification for a requirement that a budget of any sort should be balanced, except as a rallying point for those who seek to hamstring government. (William Spencer Vickrey)
• There is no reason inherent in the real resources available to us why we cannot move rapidly within the next two or three years to a state of genuine full employment. (William Spencer Vickrey)
• This paper was one of my digressions into abstract economics. (William Spencer Vickrey)
• fair to say that Tolkien and Lewis influenced each other as writers. I have made this new film because I wanted to tell the whole story of Lewis's life and I feel Lord of the Rings has created a new audience which will appreciate Lewis's work too. (Norman Stone)
• Tolkien thought there were too many elements that clashed: a Father Christmas and an evil witch, talking animals and children. He did not like allegory and thought Lewis's book was too pushy in a Christian sense. (Norman Stone)
• Some people may see it as trading insults (Norman Stone)
• It's not as bad as it seems. His head's big as a Volkswagen . Johnny can't miss that head. (Norman Stone)
• If I knew that we never would have come over here. (Norman Stone)
• You can't win in Germany unless you knock them out. (Norman Stone)
• Back in America, you hear this sort of stuff -- if you don't knock out a guy in Germany, you get robbed. It was an awful, awful decision. (Norman Stone)
• What's the problem? Everybody says that when they come over here. What's the problem? (Norman Stone)
• I'm done. I'm tired of boxing and last week's bad decision was the last straw. I'm sorry if my actions sometimes upset people. (Norman Stone)
• I know that I'm not Bruce Springsteen, ... But it was a symbolic statement that I wanted to make. (Youssou N\'Dour)
• We want to draw attention to this tragedy. We are going to continue this program to eradicate the scourge (Youssou N\'Dour)
• If we think about dignity, ... People from north to east and south really want to have dignity, and with these problems, malaria problems, people cannot go to work, kids do not go to school, and it is about dignity and the impact of this problem to our economy. (Youssou N\'Dour)
• My music is like a spinning ball, ... It can turn in one direction, and then it comes back to its origins. (Youssou N\'Dour)
• The Voice of Africa (Youssou N\'Dour)
• It was a spiritual album. ... I tried something different and have made a leap forward in my career (Youssou N\'Dour)
• Malaria kills and its main victims are children and women. We can stop this scourge so people can live with dignity and go to work and school. (Youssou N\'Dour)
• Also, if you watch the film once, there are lots of things that you won't get because there are punch lines in the first act, the setup to which isn't until the second act. (Simon Pegg)
• American audiences tend to be more expressive than British ones. (Simon Pegg)
• Both me and Edgar are firm believers in never underestimating or talking down to an audience, and giving an audience something to do, to give them something which is entirely up to them to enter into the film and find these hidden things and whatever. (Simon Pegg)
• Chris Martin's a good friend of mine. I'm actually Apple's godfather. He's an old friend and we've been mates for quite a few years now. (Simon Pegg)
• Doctor Who was a big part of my childhood so it was a great honour to be in it. (Simon Pegg)
• Every person should have their escape route planned. I think everyone has an apocalypse fantasy, what would I do in the event of the end of the world, and we just basically - me and Nick - said what would we do, where would we head? (Simon Pegg)
• I don't know about doing a sequel. I think you can retroactively damage a product by adding to it. (Simon Pegg)
• I just love listening to the laughter. (Simon Pegg)
• I loved playing Shaun, he's not that different from me. (Simon Pegg)
• I mean, yeah, I'm sure that Python and the other things have paved the way for a greater understanding of the British sense of humor, but I don't think it's all that different than the American sense of humor. (Simon Pegg)
• I think at its best the American sense of humor is the same as the British sense of humor at its best, which is to be wry and ironic and self deprecating. (Simon Pegg)
• I think that the joke and the ghost story both have a similar set up in that you kind of set something up and pay it off with a laugh or a scare. (Simon Pegg)
• I used to lie in bed in my flat and imagine what would happen if there was a zombie attack. (Simon Pegg)
• In England, we don't have any guns whatsoever. (Simon Pegg)
• That's what we wanted to get across in that moment, particularly when Shaun goes to the shop when he's all hung over. He doesn't notice any of the zombies around him just because he never had before, so why should he at that point? (Simon Pegg)
• The main jokes in this film are about big things, love and life and zombies - we all get that. (Simon Pegg)
• The only spoof I think is the title, which was just we thought of very early on and it kind of stuck. (Simon Pegg)
• The simple fact is that what you see on the screen is pretty much real. (Simon Pegg)
• There are a lot of visual marks that have to be hit, and lines that need to be said in a right way - so there wasn't really any improvisation on the set when it came to the bulk of the script. (Simon Pegg)
• There are actually quite high profile British TV star cameos in it that you probably wouldn't even notice, that the British wouldn't even notice, let alone the American audience. (Simon Pegg)
• There is a universality to comedy. (Simon Pegg)
• There's this thing of you can live in a city and be completely alone, not notice anything going on around you. (Simon Pegg)
• We don't watch the film anymore because we've seen it so many times, so we'll introduce it, walk out and we'll come back in right about when I wake up in the morning and walk over to the shop and everything's changed. (Simon Pegg)
• We suddenly saw how people reacted in the event of massive social upheaval, and the way that the little problems in your life don't go away. You don't stop being frightened of spiders just because the world's blown up. (Simon Pegg)
• We work with every one of them to see if their character wouldn't say a certain thing or if something is worded awkwardly - we work with them to rectify that. (Simon Pegg)
• You always worry about films when you hear about them making decisions after announcements are made. (Simon Pegg)
• You don't look at each other on the subway. (Simon Pegg)
• You look at shows like The Simpsons or Larry Sanders or Curb Your Enthusiasm or Seinfeld, they're really sophisticated shows that we all love back home. (Simon Pegg)
• Your instinct, rather than precision stabbing, is more about just random bludgeoning. (Simon Pegg)

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