People from Copenhagen

"If you'd stop being a Metallica fan because I won't give you my music for free, then fuck you. I don't want you to be a Metallica fan."

"Don't talk it, walk it."

"If there are people that are dumb enough to use Metallica to interrogate prisoners, you're forgetting about all the music that's to the left of us. I can name, you know, 30 Norwegian death metal bands that would make Metallica sound like Simon & Garfunkel."

"Don't download this song Even Lars Ulrich knows it's wrong. (you can just ask him!)"

"He was so far ahead of his time in so many ways, not only in drumming, but business. Playing songs like “Fight Fire with Fire” in '84, “Battery” in '86, and “Blackened” in '88, there's no denying his drumming talent. Playing what's needed for the song, not himself, and not overplaying. His song arrangement and his business acumen are also what sets him apart from many of his peers. I don't think there are as many drummers out there that have influenced as many people to start playing drums as Lars has — and I'm absolutely one of them!"

"I have a feeling that wherever I may be in the future, I will be wondering whether there is rain at Ngong."

"There is hardly any other sphere in which prejudice and superstition of the most horrific kind have been retained so long as in that of women, and just as it must have been an inexpressable relief for humanity when it shook off the burden of religious prejudice and superstition, I think it will be truly glorious when women become real people and have the whole world open before them."

"All sorrows can be borne if you put them into a story or tell a story about them."

"Man reaches the highest point of lovableness at 12 to 17 — to get it back, in a second flowering, at the age of 70 to 90."

"God made the world round so we would never be able to see too far down the road."

"The cure for anything is salt water — sweat, tears, or the sea."

"Isak Dinesen is also known for this quote."

"Do you know a cure for me?" "Why yes," he said, "I know a cure for everything. Salt water." "Salt water?" I asked him. "Yes," he said, "in one way or the other. Sweat, or tears, or the salt sea."

"It is little silly to be a caricature of something of which you know very little, and which means very little to you, but to be your own caricature — that is the true carnival!"

"A fashion always has some meaning. The fashion, or style, of renunciation really meant something then. It was inspired by the war, or it ran parallel to the war, and could not have been conceived without the war... It stood for the will to sacrifice — if the unlimited will to throw away can be called the will to sacrifice. It was arrogant and elegantly cynical — because it is arrogant and elegantly cynical when the symbol of the élite becomes hunger. The superfluous here threw away the necessary quite simply. In its inner essence it was the disdain of death."

"Real art must always involve some witchcraft."

"I don't believe in evil, I believe only in horror. In nature there is no evil, only an abundance of horror: the plagues and the blights and the ants and the maggots."

"The best of my nature reveals itself in play, and play is sacred."

"Of all the idiots I have met in my life, and the Lord knows that they have not been few or little, I think that I have been the biggest."

"I think Marilyn is bound to make an almost overwhelming impression on the people who meet her for the first time. It is not that she is pretty, although she is of course almost incredibly pretty, but she radiates, at the same time, unbounded vitality and a kind of unbelievable innocence. I have met the same in a lion-cub, which my native servants in Africa brought me. I would not keep her, since I felt that it would in some way be wrong...I shall never forget the almost overpowering feeling of unconquerable strength and sweetness which she conveyed. I had all the wild nature of Africa amicably gazing at me with mighty playfulness."

"During the first quarter of the last century, seaside resorts became the fashion, even in those countries of Northern Europe within the minds of whose people the sea had hitherto held the role of the devil, the cold and voracious hereditary foe of humanity."

"God made the world, My Lord, and looked at it, and saw that it was good. Yes. But what if the world had looked back at him, to see whether he was good or not?"

"I do not know if you remember the tale of the girl who saves the ship under mutiny by sitting on the powder barrel with her lighted torch … and all the time knowing that it is empty? This has seemed to me a charming image of the women of my time. There they were, keeping the world in order … by sitting on the mystery of life, and knowing themselves that there was no mystery."

"My love was both humble and audacious, like that of a page for his lady..."

"Love, with very young people, is a heartless business. We drink at that age from thirst, or to get drunk; it is only later in life that we occupy ourselves with the individuality of our wine. A young man in love is essentially enraptured by the forces within himself."

"What is man, when you come to think upon him, but a minutely set, ingenious machine for turning, with infinite artfulness, the red wine of Shiraz into urine?"

"The consolations of the vulgar are bitter in the royal ear. Let physicians and confectioners and servants in the great houses be judged by what they have done, and even by what they have meant to do; the great people themselves are judged by what they are. I have been told that lions, trapped and shut up in cages, grieve from shame more than from hunger."

"I had a farm in Africa, at the foot of the Ngong Hills. The Equator runs across these highlands, a hundred miles to the North, and the farm lay at an altitude of over six thousand feet. In the day-time you felt that you had got high up, near to the sun, but the early mornings and evenings were limpid and restful, and the nights were cold."

"It was Africa distilled up through six thousand feet like the strong and refined essence of a continent... The views were immensely wide — everything that you saw made for greatness and freedom, and unequalled nobility."

"Africa, amongst the continents, will teach it to you: that God and the Devil are one, the majesty coeternal, not two uncreated but one uncreated, and the Natives neither confounded the persons nor divided the substance."

"In the Ngong Forest I have also seen, on a narrow path through thick growth, in the middle of a very hot day, the Giant Forest Hog, a rare person to meet."

"White people, who for a long time live alone with Natives, get into the habit of saying what they mean, because they have no reason or opportunity for dissimulation, and when they meet again their conversation keeps the Native tone."

"There is something about safari life that makes you forget all your sorrows and feel as if you had drunk half a bottle of champagne — bubbling over with heartfelt gratitude for being alive."

"I had time after time watched the progression across the plain of the giraffe, in their queer, inimitable, vegetative gracefulness as if it were not a herd of animals but a family of rare, long stemmed spackled gigantic flowers slowly advancing. It was, in giant size, the border of a very old, infinitely precious Persian carpet in the dyes of green, yellow and black-brown"

"The true aristocracy and the true proletariat of the world are both in understanding with tragedy. To them it is the fundamental principle of God, and the key, the minor key, to existence. They differ in this way from the bourgeoisie of all classes, who deny tragedy, who will not tolerate it, and to whom the word tragedy means in itself unpleasantness."

"People who dream when they sleep at night know of a special kind of happiness which the world of the day holds not, a placid ecstasy, and ease of heart, that are like honey on the tongue. They also know that the real glory of dreams lies in their atmosphere of unlimited freedom. It is not the freedom of the dictator, who enforces his own will on the world, but the freedom of the artist, who has no will, who is free of will. The pleasure of the true dreamer does not lie in the substance of the dream, but in this: that there things happen without any interference from his side, and altogether outside his control. Great landscapes create themselves, long splendid views, rich and delicate colours, roads, houses, which he has never seen or heard of..."

"I have sometimes come upon the Iguana, the big lizard, as they were sunning themselves upon a flat stone in a river-bed. They are not pretty in shape, but nothing can be imagined more beautiful than their colouring. They shine like a heap of precious stones or like a pane cut out of an old church window. When, as you approach, they swish away, there is a flash of azure, green and purple over the stones, the color seems to be standing behind them in the air, like a comet's luminous tail. Once I shot an Iguana. I thought that I should be able to make some pretty things from his skin. A strange thing happened then, that I have never afterwards forgotten. As I went up to him, where he was lying dead upon his stone, and actually while I was walking the few steps, he faded and grew pale, all colour died out of him as in one long sigh, and by the time that I touched him he was grey and dull like a lump of concrete. It was the live impetuous blood pulsating within the animal, which had radiated out all that glow and splendor. Now that the flame was put out, and the soul had flown, the Iguana was as dead as a sandbag."

"Often since I have, in some sort, shot an Iguana, and have remembered that one in the reserve. Up at Meru I saw a young Native girl with a bracelet on, a leather strap two inches wide, and all embroidered over with very small turquoise-coloured beads which varied little in colour and played in green, light blue and ultra-marine. It was an extraordinarily live thing; it seemed to draw breath on her arm, so that I wanted it for myself, and made Farah buy it from her. No sooner had it come upon my arm that it gave up the ghost. It was nothing now, a small, cheap, purchased article of finery. It had been the play of colors, the duet between the turquoise and the "negre", — that quick, sweet, brownish black, like peat and black pottery, of the Native's skin, — that had created the life of the bracelet. ...I stood in Meru and looked at my pale hand and the dead bracelet, it was as if an injustice had been done to a noble thing, as if truth had been suppressed. So sad did it seem that I remembered the saying of the hero in a book that I had read as a child: "I have conquered them all, but I am standing amongst graves.""

"In a foreign country and with foreign species of life one should take measures to find out whether things will be keeping their value when dead. To settlers I give this advice: "For the sake of your eyes and hearts, shoot not the Iguana.""

"Tragedy should remain the right of human beings, subject, in their conditions or in their own nature, to the dire law of necessity. To them it is salvation and beatification."

"Human talk is a centrifugal function, ever in flight outwards from what is on the talker's mind."

"Man and woman are two locked caskets, of which each contains the key to the other."

"I first began to tell tales to delight the world and make it wiser..."

"Nobody has seen the trekking birds take their way towards such warmer spheres as do not exist, or rivers break their course through rocks and plains to run into an ocean which is not to be found. For God does not create a longing or a hope without having a fulfilling reality ready for them. But our longing is our pledge, and blessed are the homesick, for they shall come home."

"Of what happened later in the evening nothing definite can here be stated. None of the guests later on had any clear remembrance of it. They only knew that the rooms had been filled with a heavenly light, as if a number of small halos had blended into one glorious radiance. Taciturn old people received the gift of tongues; ears that for years had been almost deaf were opened to it. Time itself had merged into eternity. Long after midnight the windows of the house shone like gold, and golden song flowed out into the winter air."

"When later in life they thought of this evening it never occurred to any of them that they might have been exalted by their own merit. They realized that the infinite grace of which General Loewenhielm had spoken had been allotted to them, and they did not even wonder at the fact, for it had been but the fulfillment of an ever-present hope. The vain illusions of this earth had dissolved before their eyes like smoke, and they had seen the universe as it really is. They had been given one hour of the millennium."

"When soon I sail from here, I may again run into such a storm as the one in Kvasefjord. But this time I shall clearly understand that it is not a play in the theatre, but it is death. and it seems too that then, in the last moment before we go down, I can in in all truth be yours..."

"It never has happened, and it never will happen, and that is why it is told."

"'Are you sure,' she asked, 'that it is God whom you serve?' The Cardinal looked up, met her eyes and smiled very gently. 'That,' he said, 'that, Madame, is a risk which the artists and the priests of this world have to run!'"

"The entire being of a woman is a secret which should be kept."

"Why, you are to become a story teller, and I shall give you the reasons! Hear then: Where the storyteller is loyal, eternally and unswervingly loyal to the story, there, in the end, silence will speak. Where the story has been betrayed, silence is but emptiness. But we, the faithful, when we have spoken our last word, will hear the voice of silence. Whether a small snotty lass understands it or not."

"Isak Dinesen said that she wrote a little every day, without hope and without despair. I like that."

"(Tell us about your favorite short story.) ...Isak Dinesen’s masterworks, “The Deluge at Norderney” and “The Monkey,” are so important to me that I keep wearing out the collection they are part of — “Seven Gothic Tales.”"

"As a Nobel Prize winner I cannot but regret that the award was never given to Mark Twain, nor to Henry James, speaking only of my own countrymen. Greater writers than these also did not receive the prize. I would have been happy — happier — today if the prize had been given to that beautiful writer Isak Dinesen."

"("Would you agree with Isak Dinesen's idea, "All sorrows can be borne if you put them in a story"?) ULG: That's nice, and I like Isak Dinesen. Yes, but it is kind of a tautology, because if you can put them in a story, it means you're already bearing them. You are bearing them as a woman bears her child."

"After all, what is art? Art is the creative process and it goes through all fields. Einstein’s theory of relativity — now that is a work of art! Einstein was more of an artist in physics than on his violin. Art is this: art is the solution of a problem which cannot be expressed explicitly until it is solved."

"Man is the animal that draws lines which he himself then stumbles over. In the whole pattern of civilization there have been two tendencies, one toward straight lines and rectangular patterns and one toward circular lines. There are reasons, mechanical and psychological, for both tendencies. Things made with straight lines fit well together and save space. And we can move easily — physically or mentally — around things made with round lines. But we are in a straitjacket, having to accept one or the other, when often some intermediate form would be better."

"Losing one glove is certainly painful, but nothing compared to the pain, of losing one, throwing away the other, and finding the first one again."

"There is one art, no more, no less: to do all things with art- lessness."

"Living is a thing you do now or never — which do you?"

"As eternity is reckoned there's a lifetime in a second."

"Love is like a pineapple, sweet and undefinable."

"Naive you are if you believe life favours those who aren't naive."

"Somebody said that Reason was dead. Reason said: No, I think not so."

"People are self-centered to a nauseous degree. They will keep on about themselves while I'm explaining me."

"Problems worthy of attack prove their worth by hitting back."

"Put up in a place where it's easy to see the cryptic admonishmentT.T.T.When you feel how depressingly slowly you climb, it's well to remember that Things Take Time."

"The road to wisdom? — Well, it's plain and simple to express: Err and err and err again but less and less and less."

"The way to grow grand is not: to demand. In life's every field you are what you yield."

"Wisdom is the booby prize given when you've been unwise."

"Freedom means you're free to do just whatever pleases you; — if, of course that is to say, what you please is what you may."

"The universe may be as great as they say. But it wouldn't be missed if it didn't exist."

"I am a humble artist moulding my earthly clod, adding my labour to nature's, simply assisting God. Not that my labour is needed, yet somehow I understand, my Maker has deemed it that I too should have Unmoulded clay in my hand."

"Whenever you're called on to make up your mind, and you're hampered by not having any, the best way to solve the dilemma, you'll find, is simply by spinning a penny. No — not so that chance shall decide the affair while you're passively standing there moping; but the moment the penny is up in the air, you suddenly know what you're hoping"

"Co-existence or no existence."

"The noble art of losing face may some day save the human race and turn into eternal merit what weaker minds would call disgrace."

"Those who always know what’s best are a universal pest."

"A bit beyond perception's reach I sometimes believe I see that Life is two locked boxes, each containing the other's key."

"Foes of what's cooking see no worth behind it. Those that are looking for nothing — will find it."

"if you possess more than just eight things then y o u are possessed by t h e m"

"Giving in is no defeat. Passing on is no retreat. Selves are made to rise above. You shall live in what you love."

"Love while you've got love to give. Live while you've got life to live."

"We shall have to evolve problem-solvers galore — since each problem they solve creates ten problems more."

"Men, said the Devil, are good to their brothers: they don’t want to mend their own ways, but each other's."

"The human spirit sublimates the impulses it thwarts; a healthy sex life mitigates the lust for other sports."

"Experts have their expert fun ex cathedra telling one just how nothing can be done."

"Shun advice at any price - that's what I call good advice."

"True wisdom knows it must comprise some nonsense as a compromise, lest fools should fail to find it wise."

"Idiots are really one hundred per cent when they are also intelligent."

"To be and not to be, that is the answer."

"The constant questioning of our values and achievements is a challenge without which neither science nor society can remain healthy."

"I really wanted to be a Jew, and then I found out that I was really a Nazi, because, you know, my family was German, which also gave me some pleasure. What can I say? I understand Hitler, but I think he did some wrong things, yes, absolutely. But I can see him sitting in his bunker in the end. He's not what you would call a good guy, but I understand much about him, and I sympathize with him a little bit. But come on, I'm not for the Second World War, and I'm not against Jews, no, not even Susanne Bier. I am of course very much for Jews. No, not too much, because Israel is a pain in the ass. But still, how can I get out of this sentence?"

"Could it be, nevertheless, that Einstein's theory is wrong? Might it be necessary to modify it—to find a new theory of gravity that can explain both the stronger gravity and the apparent antigravity being observed today—rather than simply throwing in invisible things to make the standard model work?"

"Almost 30 percent of the total matter-energy budget is said to be composed of so-called cold dark matter and almost 70 percent of "dark energy," leaving only about 4 percent as visible matter in the form of the atoms that make up the stars, planets, interstellar dust, and ourselves. Such is the degree of discrepancy between theory and observations today."

"When I was a student at Trinity College, Cambridge, in the 1950s, Sir Isaac Newton's presence was still almost palpable."

"Einstein entertained counterintuitive notions that allowed him to pull physics from the mechanistic, clockwork universe of the eighteenth century up into the twentieth century."

"The eighteenth-century German philosopher Immanuel Kant had conjectured that Messier's nebulae were distant "island universes" outside our Milky Way galaxy, but many scientists in the early twentieth century disagreed."

"Today, like the elusive planet Vulcan in the nineteenth century, dark matter is accepted by the majority of astronomers and physicists as actually existing. Dark matter, although it has never been seen, is part of the generally accepted standard model of physics and cosmology, which also includes the big bang beginning of the universe."

"Hunting for elusive dark matter is now a multibillion dollar international scientific industry."

"It may be that ultimately the search for dark matter will turn out to be the most expensive and largest null result experiment since the Michelson-Morely experiment, which failed to detect the ether."

"It is hard to understand how this infinitely dense singularity can evaporate into nothing. For matter inside the black hole leak out into the universe requires that it travel faster than the speed of light."

"Is the reader feeling confused about the status of the black hole information paradox and black holes in general? So am I!"

"Experimentalists dream of some spectacular discovery such as the proof of the existence of black holes to justify the more than eight billion dollars it has cost to build the LHC."

"A much faster speed of light in the infant universe solved the horizon problem and therefore explained the overall smoothness of the temperatures of the CMB radiation, because light now traveled extremely quickly between all parts of the expanding but not inflating universe."

"Inflation itself proceeds at a speed faster than the measured speed of light."

"In estimating the amount of dark matter, cosmologists developing the standard model have to make some rather strong assumptions about their observations."

"One truth we have been able to count on concerning scientific persuit over the centuries has been that only testable theories survive the intense scrutiny of experimental science."

"To physicists such as myself, the huge amount of invisible dark matter needed to make Einstein's theory fit the astrophysical data is reason enough for exploring modified gravity theories."

"It is difficult to falsify the hypothesis of dark matter, because, as with Ptolemy's epicycles, true believers can always add additional arbitrary features and free parameters to overcome any conceivable difficulties that occur with the dark matter models."

"A large part of the relativity community is in denial - refusing even to contemplate the idea that black holes may not exist in nature, or seriously consider the idea that any kind of new matter such as the new putative dark energy can play a fundamental role in gravity theory."

"This is the only sure way I know to counter the anti-Copernican idea that the universe is accelerating in our epoch - to get rid of the problem entirely!"

"Indeed, there is a now a minority of cosmologists who question a beginning of the universe at all; instead they favor a cyclic model with a series of expansions and contractions."

"This is an extraordinary time in the history of science, in that we cannot only theorize about the beginning of the universe, but actually study the celestial fossils of how it happened."

"Giving up Einstein's theory of gravity is simply unacceptable to many in the community. It may take a new generation of physicists to view the evidence with unclouded eyes."

"The crowd will follow a leader who marches twenty steps in advance; but if he is a thousand steps in front of them, they do not see and do not follow him, and any literary freebooter who chooses may shoot him with impunity."

"The stream of time sweeps away errors, and leaves the truth for the inheritance of humanity."

"It would be as impossible for me to attack Christianity as it would be impossible for me to attack werewolves."

"I was very much surprised when Mill informed me that he had not read a line of Hegel, either in the original or in translation, and regarded the entire Hegelian philosophy as sterile and empty sophistry. I mentally confronted this with the opinion of the man at the Copenhagen University who knew the history of philosophy best, my teacher, Hans Brochner, who knew, so to speak, nothing of contemporary English and French philosophy, and did not think them worth studying. I came to the conclusion that here was a task for one who understood the thinkers of the two directions, who did not mutually understand one another. I thought that in philosophy, too, I knew what I wanted, and saw a road open in front of me."

""[of Kierkegaard's behavior towards his ex-fiance Regine] There isn't the slightest reason to condemn him, but every call to attempt to understand him". "[Kierkegaard is] the mystery, the great mystery"."

"He maintains that culture shows itself above all else in a unity of artistic style running through every expression of a nation's life. On the other hand, the fact of having learnt much and knowing much is, as he points out, neither a necessary means to culture nor a sign of culture; it accords remarkably well with barbarism, that is to say, with want of style or a motley hotchpotch of styles."

"Nietzsche asks how it has come about that so prodigious a contradiction can exist as that between the lack of true culture and the self-satisfied belief in actually possessing the only true one and he finds the answer in the circumstance that a class of men has come to the front which no former century has known, and to which (in 1873) he gave the name of “Culture-Philistines.”"

"The Culture-Philistine … everywhere meets with educated people of his own sort, and since schools, universities and academies are adapted to his requirements and fashioned on the model corresponding to his cultivation. Since he finds almost everywhere the same tacit conventions with respect to religion, morality and literature, with respect to marriage, the family, the community and the state, he considers it demonstrated that this imposing homogeneity is culture. It never enters his head that this systematic and well-organised philistinism, which is set up in all high places and installed at every editorial desk, is not by any means made culture just because its organs are in concert. It is not even bad culture, says Nietzsche; it is barbarism fortified to the best of its ability, but entirely lacking the freshness and savage force of original barbarism; and he has many graphic expressions to describe Culture-Philistinism as the morass in which all weariness is stuck fast, and in the poisonous mists of which all endeavour languishes."

"What is public opinion? It is private indolence."

"On entering life, then, young people meet with various collective opinions, more or less narrow-minded. The more the individual has it in him to become a real personality, the more he will resist following a herd. But even if an inner voice says to him; “Become thyself! Be thyself!” he hears its appeal with despondency. Has he a self? He does not know; he is not yet aware of it. He therefore looks about for a teacher, an educator, one who will teach him, not something foreign, but how to become his own individual self. We had in Denmark a great man who with impressive force exhorted his contemporaries to become individuals. But Søren Kierkegaard’s appeal was not intended to be taken so unconditionally as it sounded. For the goal was fixed. They were to become individuals, not in order to develop into free personalities, but in order by this means to become true Christians. Their freedom was only apparent; above them was suspended a “Thou shalt believe!” and a “Thou shalt obey!” Even as individuals they had a halter round their necks, and on the farther side of the narrow passage of individualism, through which the herd was driven, the herd awaited them again one flock, one shepherd. It is not with this idea of immediately resigning his personality again that the young man in our day desires to become himself and seeks an educator. He will not have a dogma set up before him, at which he is expected to arrive."

"Nietzsche says that as soon as he had read a single page of Schopenhauer, he knew he would read every page of him and pay heed to every word, even to the errors he might find. Every intellectual aspirant will be able to name men whom he has read in this way."

"The society of the Culture-Philistines makes life a burden to exceptional men."

"We need only think of the number of talented men who sooner or later make their apologies and concessions to philistinism, so as to be permitted to exist."

"The great man is not the child of his age but its step-child."

"The educator shall help the young to educate themselves in opposition to the age."

"It appears to [Nietzsche] that the modern age has produced for imitation three types of man … First, Rousseau’s man, the Titan who raises himself … and in his need calls upon holy nature. Then Goethe’s man … a spectator of the world … [Third] Schopenhauer’s man … voluntarily takes upon himself the pain of telling the truth."

"When does a state of culture prevail? When the men of a community are steadily working for the production of single great men. From this highest aim all the others follow. And what state is farthest removed from a state of culture? That in which men energetically and with united forces resist the appearance of great men, partly by preventing the cultivation of the soil required for the growth of genius, partly by obstinately opposing everything in the shape of genius that appears amongst them. Such a state is more remote from culture than that of sheer barbarism."

"Forgetfulness, the unhistorical, is … the atmosphere, in which alone life can come into being. In order to understand it, let us imagine a youth who is seized with a passion for a woman, or a man who is swayed by a passion for his work. In both cases what lies behind them has ceased to exist and yet this state (the most unhistorical that can be imagined) is that in which every action, every great deed is conceived and accomplished."

"History, in [Nietzsche’s] view, belongs to him who is fighting a great fight, and who needs examples, teachers and comforters, but cannot find them among his contemporaries. Without history the mountain chain of great men’s great moments, which runs through millennia, could not stand clearly and vividly before me."

"The historian is looked upon as objective when he measures the past by the popular opinions of his own time, as subjective when he does not take these opinions for models. That man is thought best fitted to depict a period of the past, who is not in the least affected by that period. But only he who has a share in building up the future can grasp what the past has been, and only when transformed into a work of art can history arouse or even sustain instincts."

"Greatness has nothing to do with results or with success."

"Why you exist, says Nietzsche with Søren Kierkegaard, nobody in the world can tell you in advance; but since you do exist, try to give your existence a meaning by setting up for yourself as lofty and noble a goal as you can."

"The masses are only to be regarded as one of three things: either as copies of great personalities, bad copies, clumsily produced in a poor material, or as foils to the great, or finally as their tools"

"What has set the mass in motion for any length of time is then called great. It is given the name of a historical power. When, for example, the vulgar mob has appropriated or adapted to its needs some religious idea, has defended it stubbornly and dragged it along for centuries, then the originator of that idea is called great. There is the testimony of thousands of years for it, we are told. But this is Nietzsche’s and Kierkegaard’s idea the noblest and highest does not affect the masses at all, either at the moment or later. Therefore the historical success of a religion, its toughness and persistence, witness against its founder’s greatness rather than for it."

"[Nietzsche inveighs] against every sort of historical optimism; but he energetically repudiates the ordinary pessimism, which is the result of degenerate or enfeebled instincts of decadence. He preaches with youthful enthusiasm the triumph of a tragic culture, introduced by an intrepid rising generation, in which the spirit of ancient Greece might be born again. He rejects the pessimism of Schopenhauer, for he already abhors all renunciation; but he seeks a pessimism of healthiness, one derived from strength, from exuberant power, and he believes he has found it in the Greeks."

"But what of the voice and judgment of conscience? The difficulty is that we have a conscience behind our conscience, an intellectual one behind the moral. … We can see quite well that our opinions of what is noble and good, our moral valuations, are powerful levers where action is concerned; but we must begin by refining these opinions and independently creating for ourselves new tables of values."

"Instead of trying to educate the human race, they should imitate the pedagogues of the seventeenth and eighteenth centuries, who concentrated their efforts on the education of a single person."

"He who feels that in his inmost being he cannot be compared with others, will be his own lawgiver. For one thing is needful: to give style to one’s character. This art is practised by him who, with an eye for the strong and weak sides of his nature, removes from it one quality and another, and then by daily practice and acquired habit replaces them by others which become second nature to him; in other words, he puts himself under restraint in order by degrees to bend his nature entirely to his own law. Only thus does a man arrive at satisfaction with himself, and only thus does he become endurable to others. For the dissatisfied and the unsuccessful as a rule avenge themselves on others. They absorb poison from everything, from their own incompetence as well as from their poor circumstances, and they live in a constant craving for revenge on those in whose nature they suspect harmony. Such people ever have virtuous precepts on their lips; the whole jingle of morality, seriousness, chastity, the claims of life; and their hearts ever burn with envy of those who have become well [harmonious] and can therefore enjoy life."

"Since fresh examples and proofs could always be found of the alleged relation between guilt and punishment: if you behave in such and such a way, it will go badly with you. Now, as it generally does go badly, the allegation was constantly confirmed; and thus popular morality, a pseudo- science on a level with popular medicine, continually gained ground."

"The oldest definition [of “good”] was this: the noble, the mightier, higher-placed and high-minded held themselves and their actions to be good of the first rank in contradistinction to everything low and low-minded. Noble, in the sense of the class-consciousness of a higher caste, is the primary concept from which develops good in the sense of spiritually aristocratic. The lowly are designated as bad (not evil). Bad does not acquire its unqualified depreciatory meaning till much later. In the mouth of the people it is a laudatory word; the German word schlecht is identical with schlicht (cf. schlechtweg and schlechterdings)."

"In opposition to the aristocratic valuation (good = noble, beautiful, happy, favoured by the gods) the slave morality then is this: The wretched alone are the good; those who suffer and are heavy laden, the sick and the ugly, they are the only pious ones. On the other hand, you, ye noble and rich, are to all eternity the evil, the cruel, the insatiate, the ungodly, and after death the damned. Whereas noble morality was the manifestation of great self-esteem, a continual yea-saying, slave morality is a continual Nay, a Thou shall not, a negation. To the noble valuation good bad (bad = worthless) corresponds the antithesis of slave morality, good evil. And who are the evil in this morality of the oppressed? Precisely the same who in the other morality were the good."

"What [Nietzsche] calls slave morality is to him purely spite-morality; and this spite-morality gave new names to all ideals. Thus impotence, which offers no reprisal, became goodness; craven baseness became humility; submission to him who was feared became obedience; inability to assert one’s self became reluctance to assert one’s self, became forgiveness, love of one’s enemies. Misery became a distinction"

"Those [Christians] had left to love on earth were then: brothers and sisters in hatred, whom they called then: brothers and sisters in love."

"For long ages, too, no notice whatever was taken of the criminal’s “sin”; he was regarded as harmful, not guilty, and looked upon as a piece of destiny; and the criminal on his side took his punishment as a piece of destiny which had overtaken him, and bore it with the same fatalism … In general we may say that punishment tames the man, but does not make him “better.”"

"Nietzsche proposes the following brilliant hypothesis: The bad conscience is the deep-seated morbid condition that declared itself in man under the stress of the most radical change he has ever experienced when he found himself imprisoned in perpetuity within a society which was in- violable. All the strong and savage instincts such as adventurousness, rashness, cunning, rapacity, lust of power, which till then had not only been honoured, but actually encouraged, were suddenly put down as dangerous, and by degrees branded as immoral and criminal. Creatures adapted to a roving life of war and adventure suddenly saw all their instincts classed as worthless, nay, as forbidden. An immense despondency, a dejection without parallel, then took possession of them. And all these instincts that were not allowed an outward vent, turned inwards on the man himself feelings of enmity, cruelty, … violence, persecution, destruction and thus the bad conscience originated."

"What has here happened is that the instinct of cruelty, which has turned inwards, has become self-torture, and all man’s animal instincts have been reinterpreted as guilt towards God. Every Nay man utters to his nature, to his real being, he flings out as a Yea, an affirmation of reality applied to God’s sanctity"

"Under the dominion of the priests our earth became the ascetic planet; a squalid den careering through space, peopled by discontented and arrogant creatures, who were disgusted with life, abhorred their globe as a vale of tears, and who in their envy and hatred of beauty and joy did themselves as much harm as possible."

"The ascetic priest … keeps the whole herd of dejected, faint-hearted, despairing and unsuccessful creatures fast to life. The very fact that he himself is sick makes him their born herdsman. If he were healthy, he would turn away with loathing from all this eagerness to re-label weakness, envy, Pharisaism and false morality as virtue. But, being himself sick, he is called upon to be an attendant in the great hospital of sinners the Church. He … teaches the patient that the guilty cause of his pain is himself. Thus he diverts the rancour of the abortive man and makes him less harmful, by letting a great part of his resentment recoil on himself. …He mitigates suffering and invents consolations of every kind, both narcotics and stimulants."

"[Nietzsche] attributes to himself an extremely vivid and sensitive instinct of cleanliness. At the first contact the filth lying at the base of another’s nature is revealed to him. The unclean are therefore ill at ease in his presence"

"The loathing of mankind is a force that surprises and overwhelms one, fed by hundreds of springs concealed his subconsciousness. One only detects its presence after having long entertained it unawares."

"Young girls sometimes make use of the expression: “Reading books to read one’s self.” They prefer a book that presents some resemblance to their own circumstances and experiences. It is true that we can never understand except through ourselves. Yet, when we want to understand a book, it should not be our aim to discover ourselves in that book, but to grasp clearly the meaning which its author has sought to convey through the characters presented in it. We reach through the book to the soul that created it. And when we have learned as much as this of the author, we often wish to read more of his works. We suspect that there is some connection running through the different things he has written and by reading his works consecutively we arrive at a better understanding of him and them. Take, for instance, Henrik Ibsen’s tragedy, “Ghosts.” This earnest and profound play was at first almost unanimously denounced as an immoral publication. Ibsen’s next work, “An Enemy of the People,” describes, as is well known the ill-treatment received by a doctor in a little seaside town when he points out the fact that the baths for which the town is noted are contaminated. The town does not want such a report spread; it is not willing to incur the necessary expensive reparation, but elects instead to abuse the doctor, treating him as if he and not the water were the contaminating element. The play was an answer to the reception given to “Ghosts,” and when we perceive this fact we read it in a new light. We ought, then, preferably to read so as to comprehend the connection between and author’s books. We ought to read, too, so as to grasp the connection between an author’s own books and those of other writers who have influenced him, or on whom he himself exerts an influence. Pause a moment over “An Enemy of the People,” and recollect the stress laid in that play upon the majority who as the majority are almost always in the wrong, against the emancipated individual, in the right; recollect the concluding reply about that strength that comes from standing alone. If the reader, struck by the force and singularity of these thoughts, were to trace whether they had previously been enunciated in Scandinavian books, he would find them expressed with quite fundamental energy throughout the writings of Soren Kierkegaard, and he would discern a connection between Norwegian and Danish literature, and observe how an influence from one country was asserting itself in the other. Thus, by careful reading, we reach through a book to the man behind it, to the great intellectual cohesion in which he stands, and to the influence which he in his turn exerts."

"If we experience our power of awareness, feel something to be conscious right here and now, know that there is something between and behind the thoughts that perceives and understands, then everything is free play and a gift."

"The understanding that truth is not neutral, but is instead blissful, is something only meditators and lovers trust."

"Buddha’s advice helps beings by showing how one may consciously become a source of happiness and love."

"With love, one is also constantly planting the seeds for the success or failure of a partnership, and knowing this, we are especially responsible for the happiness or suffering of those who have opened up to us. The increased intimacy in love relationships leads to an exceptionally fast ripening of both beings’ good and bad impressions in mind."

"The 'taking love' leads to feelings of attachment, jealousy, anger, and childish self-absorption, while the 'giving love,' intrinsic in the tenets of Buddhism, encompasses the whole enjoyable realm of love, compassion, sympathetic joy, and equanimity."

"Lasting, fulfilling joy arises through the fusion of 'I' and 'You' into a 'We.' When both are in love and become one, everything blossoms, and the couple stands fast for each other and step in for one another. With such surplus, couples or families naturally spread their combined power into the world and gladly include others who want, and can, partake in the growth. With this, every aspect of life becomes a step along the way. And because relationships go so deep and generate such strong feelings, there is no feedback system that better enables a couple to get to know each other, and allows one to develop oneself."

"A generous relationship rarely knows dramas. One is happy when the partner is happy. And one is happy when growing on three levels: on the physical level, which gives love, material things, and protection; on the inner level— through compassion and wisdom—which provides the motivation for development; and on a deep-lying, secret level where both partners enrich themselves with the qualities of the other and increasingly find their center."

"A successful partnership thrives because of the willingness of both to place the well-being of the other above their own. When the man makes the woman a queen and she treats him like a king, their noble style dissolves any limits for growth. With this enriching approach, a living, completing love will emerge."

"Generous love, the glue that holds everything together in a healthy relationship, aims for shared happiness through the fulfillment of one’s partner."

"From the great moments of their lives, many remember that the experiences of sharing love are much more honest and convincing than anything one could do for oneself. The joyful rush of living the highest principle of oneness and being there for everyone brings pervasive meaning and a sense of liberation, as if one has just broken out of prison."

"The exchange between two mature, happy people enlivens their surroundings on countless levels and many can gain from it. Around them it seems that the world is enriching itself and the good feelings that appear are more than what the lovers are contributing themselves."

"Enlightenment is not only timeless but also more beautiful, truer, and more indestructible than anything separable or conditioned. There is no greater happiness than the full development of mind!"

"If one understands that the only thing that remains timeless is the richness of one’s own buddha nature, one can relax even with regard to death."

"Just as what is in the jar, when broken, becomes one with the surroundings, death offers the opportunity to recognize the basic truth of all existence through non-discriminating one-pointedness. Like space, the essence of mind is unaffected by transition and death."

"Because long-held internalized views and attitudes appear especially powerful in death, the daily practice should include body, speech, and mind, so that the teachings slide from the head to the heart as fast as possible. It is certain and a real gift that the Buddhist methods will help in both this life and afterward."

"The essential art of dying consists of being easy-going and relaxed while at the same time staying mentally undistracted and one-pointed. Therefore, the one who is dying should imagine the most beautiful thing above his head and wish to go there as often as possible."

"If one is able to convey to the dying person that his mind is bound to this decaying body only for the present life span, it is calming. If one adds that mind is beyond death and birth, like space, emerging appearances of confusion and aging become more acceptable. This view confers the often missing dignity on the last part of life. It helps the dying to increasingly relax, and oneself to face one’s own death more fearlessly."

"Knowledge of inner processes in body and mind is as helpful for one’s own preparation for death as it is for people who care for others who are dying. If one knows what to expect while dying, the conditions can be used and fears specifically removed."

"If one is wild and doesn’t like anything angry, when meeting with Buddha’s teaching one experiences joy and natural totality, as if two rivers flow into each other. And if one is basically trusting, the Pure Land is near, and in death, perhaps one will enter something deeply known."

"It is impossible to learn to meditate while dying. Therefore, it is a great help to become aware of the dreamlike state of all things during this life, to have understood this at least conceptually, and to have practiced the ability to work with one’s mind for years."

"Gradually he [King Frederik] showed me everybody was going to help me in this...it was not a terrifying thing, but a great challenge."

"I was supported from every side by my family and by the ministers, but so much also by the people."

"That cold January day - and so many people... I'd never imagined it would happen nowadays."

"We were so busy that we didn't have time to think about how terrible it was or - in fact it felt strangely natural."

"God's help, the love of the people, the strength of Denmark."

"You are handed your job as the old king or queen dies... It is not a life sentence, but a life of service."

"Being Queen is a profession, a job, a position, an office that one cannot put aside when you come home from work. It is there all the time - and it is there all your life."

"I would like to stress that the obligation [of being Queen] has always been driven by joy. The joy is rooted in the warmth that has met me and my family everywhere through every year, in celebration and joy as in sorrow, in the so-called "big days", as well as in everyday life."

"I have always felt that it is a task that you are given, and that you have it as long as you live. That is my fundamental view. It is an integral part of the job that you have it for life."

"For me, it [being Queen] is a responsibility that does not include abdication. It is a task one has been given and taken upon oneself, and one does not relinquish it because it would perhaps be convenient personally to be rid of some of it."

"I will remain on the throne until I fall off!"

"In February this year I underwent extensive back surgery. Everything went well, thanks to the competent health personnel, who took care of me. Inevitably, the operation gave cause to thoughts about the future – whether now would be an appropriate time to pass on the responsibility to the next generation."

"I have decided that now is the right time. On 14 January 2024 – 52 years after I succeeded my beloved father – I will step down as Queen of Denmark. I will hand over the throne to my son Crown Prince Frederik."

"I do not think one should chase the fashions of the day, concerning neither sweaters nor opinions."

"One should never be so formal that one loses life, but one should never be so informal that one becomes without form of any kind."

"The fact that I am a woman has never really played into what I have done or not done. I have just been lucky that things have played out so that I could do things."

"But are we seeing indications these years that we have become more selfish, that we have become inclined to first and foremost make demands, and make sure that we all get what we ourselves think we are entitled to? Are we becoming distrustful of each other, and beginning to ascribe less than pure motives to each other? If that is the case, we are not only in an economic crisis. Then it is our attitudes that are slipping. It is a crisis that is insidious because it creeps upon us and poisons our relationships with each other. It means that we are jeopardising something that may be irretrievable."

"In the course of the last few generations, society has developed in such a way that we can live more and more safely, both financially and socially. We have got used to being able to pick and choose quite freely in big and small matters. Our circumstances are so good now that we have almost forgotten that our decisions also have consequences and that we cannot opt into or out of all life’s conditions."

"In spite of the many initiatives our society offers to help and support, recovery can be such a monumental task that some give up. They withdraw into themselves. Not least during Christmas and New Year is it hard to feel left out. Tonight my thoughts are with them."

"We do not have that much to moan about when one thinks of what people did not moan about before."

"Painting is not what my life is about, but it is very important to me, and I am very lucky to be able to give some time to it. The time that I devote to painting is not a lot of time, but I do it 100 percent while I am working, and then there's nothing else that counts."

"I think, for me, nature has always been my main point of reference. I think as a child I was fascinated by landscapes and nature wherever I went. I was able to travel all over Denmark, which is not that large, everywhere in this country where I've been I always loved the landscape."

"For me it is always the colour, first and foremost."

"I think that people imagine protocol and etiquette as some kind of great dragon that hovers behind the pageantries of the palace to pounce on you and eat you up if you aren't behaving as you should. But in fact etiquette is saying how to do when you meet people, saying good night to your parents before going to bed, opening a door to a woman, getting up if an older person wants to sit down on the bus and it's all full, that is etiquette, or protocol, if you wish. At the everyday level, all the time, all of us. It's a way of knowing what you've got to do so that you have your mind free to do other things and think of other things."

"One would not die from my cooking, but I am not sure one would survive my driving."

"One may well use one's head even though one is in love. Someone has said that one cannot prevent lightening from striking – but one may prevent the whole town from burning down."

"When people say that I may not speak, they forget that I may well think. I may think what I want, like everyone else. I shall just refrain from saying everything I think. That might be something many people should do once in a while."

"We can be very relaxed in our relationship with the Danish people...I feel extraordinarily privileged."

"There is nothing so clever as people you agree with."

"I hope I will be able to paint as long as I live."

"One shouldn't write one's own epitaph. I hope people will remember me as one who did her best - and who wasn't an anachronism."

"With dignity, with proximity and wisely have you been an anchor for the Danes."

"You are not just 'Denmark's Queen'. You are the Danes' Queen."

"Dear mother – it is always parents who say they are proud of their children. I know your father, my grandfather, King Frederik IX, would have repeated: "I'm proud of you, my girl". But I stand here today as your eldest son, proud of his mother, and all she has achieved so far. Dear mother, you appear as the mother both of your sons remember from their youth: a beautiful queen, a stalwart girl."

"Throughout history, people have never before expected to be as comfortable as people do today."

"The lesson from the Cold War is, if you give in to totalitarian impulses once, new demands follow... The West prevailed in the Cold War because we stood by our fundamental values and did not appease totalitarian tyrants."

"Landscapes are about beauty and death. The only way you can define beauty.. ..is to know that death is hiding behind it. This is what haunts you when you’re doing a so-called landscape painting. -"

"What I am after is 'bravura, an attempt to do something beyond the truth'.. .I do not seek truth before bravura, I seek it on the other side. Naturally it is a basic risk to run, the internal insecurity, where nothing is measurable, no solid standard exists any longer, and one can hardly discern the difference between commercial bravura and true trapdoor, but it is the only way of escaping good taste and narrow certification. The light of ambivalence is a heavenly one."

"I believe that painting, in our meaning, is structures. Each application of paint to a surface is structure. This is, of course, self-evident, but a superstructure of meaning can occur. One can have various motives for doing it. And here that difficult motif comes in. I believe that a ruthless accumulation of structure reworkings leads to one meeting one's motif. One's life-motif, so to speak. That which one has and does not know that one has it. A sort of geology, as when, in a constant process, sedimentation and erosion makes the earth we live on like it is now, without any meaning in itself in a rational sense, but accepted as that upon which we live in this life.."

"Painting is laying layer upon layer. Without exception it is fundamental to all painted pictures even if they look as if they were done in one movement. The movement has always crossed its own track somewhere. It is easy to understand that a picture is layer upon layer when it comes to Picabia's puzzle pictures or my own material works, but it is difficult with the 'synchronos'. By the 'synchronous' I mean all those pictures where all the layers aim at the same picture, where the under-painting and following layers – glazed or not – fall on top of each other. The 'unsynchronous' are the ones where each new layer is a new picture. It is like geological strata with cracks and discordances. But each new layer, however furious, is always infected and coloured by the underlying one. Even when it is slates where the previous payer is completely removed physically, wiped off."

"Thus it is with all pictures, there are many layers, and with good reason an analysis nearly always deals with the last [layer]. The last layer in a superficial sense. But how then can one talk of what one cannot see, the overpainted or wiped-off layers, how to go about for example, photographs that are like slates with layers which no longer exist. The answer is that they exists nevertheless, taken up into the visible layer by a rubbing-off, but the problem, on the whole, is how one deals with the visible layer. The angle-sure, viewpoint seeking and in the worse sense 'analytic' intercourse with the picture."

"chapter 'Caption', p. 84"

"it doesn't care too much if it's from the 60's or from last year - it's kind of the same thing [in his paintings].. ..apparently there are certain structures, certain ways of organizing a painting that's there, that I'm born with as a painter."

"To achieve the structure it takes a damn long time, so my paintings are always in work for a very long time—sometimes a year. Not that I work on them every day. I will have them, and then come back to them after a year, and also return intermittently. It’s not easily done. I am not able to do “one, two, a painting.” I try to do it very quickly, but it doesn’t work with me. I simply can’t do it. Very often people look and say, 'Ah, fantastic! That’s a beautiful painting.' But the moment they are out the door I start working on it. I rework it."

"At my age [74], you realize that some things have caught you. You can see that as a positive or a negative. On the negative side: Are you in a routine, unconsciously adapting to things that work well?.. ..The black Masonite [board, Kirkeby used to underlayment for his painting].. ..by not painting them black and instead making them beautiful, I’ve wondered if I have sold that particular idea. Edvard Munch, as he got older, sat at his home and painted like a wild man. Those works were not very popular and have come to be considered the 'wrong' Munch. But that’s how you need to be when you get old. I call it the arrogance of age: You don’t need recognition. You just don’t care."

"But through the 1990's I developed signatures, somewhat radical and unmistakably mine. Francis Picabia remains my hero. The more you dive into his work, the wilder it becomes. He painted the skewed Cubist paintings that we all know. Then came the kitsch works. And he ended up doing these strange, abstract works that are impossible to grasp. Whenever you think you’ve got him, he’s always moved along. That’s what I aspire to do."

"I have a garden and across the road, a park. I never go for walks, but I look out the window and 'ask for permission' [to paint the view] as I call it. If I need some green, I find it there. In that sense, I’m a very old-fashioned painter, tied to nature. But I remain modern in that I execute some rather impious structures. I will react if I feel that my paintings, though abstract, become too naturalistic. I have another studio in Italy and I worked a lot there this summer. I still depend on my surroundings, so some of my work was very influenced by the Italian landscape, its olive trees and the very cold green color of the leaves. You could identify the specific landscape in those paintings and it drove me crazy. So I had to destroy them. But even destruction can still help underline what is good about a picture."

"A structure-less painting is, to me, a painting that does not matter. Structure mirrors your degree of responsibility toward the work. You can’t just let it float around in pretty colors. It needs a kind of core. But this is an inner structure. It does correspond to being a geologist — the metaphor may be trite, but it works. Like when you see these breathtaking mountains in strange colors in eastern Greenland. As a geologist, you want to know what exactly they’re doing."

"I became part of this German wave of new painting and sculpture [ w:Neo-expressionism ], even though I didn’t fit in. Baselitz and the other young German artists, their paintings were demonstrative figuration, while my work was more lyrical and Cubist, based on still life. None of the curators of the exhibitions at the time knew what to do with it. I could see that they almost wished I’d just withdraw. But it’s an outsider position with which I’ve been really comfortable. I was able to extend myself within my own thing, which wasn’t very successful internationally. My work was not punchy enough. I succeeded in constantly evading branding. My history with Fluxus is actually quite funny. I went to New York in 1966 as a relatively young man, wanting to meet all these artists. Denmark was extremely small and stuffy. In high school I had discovered something called Jackson Pollock, and I was furious that no one had told me about this before.. .I was calling around, saying, 'Hello, I’m a Danish artist. I would like to meet you.'"

"..I also got to meet w:George Maciunas, the father of Fluxus. I wanted to know what this Fluxus was, so I asked him, 'If I put salt in a tea bag and then into hot water, then the salt will dissolve, and when you pull the bag up, there is nothing in it. Is that Fluxus?' 'Let’s make that one right away,' Maciunas replied. And it became a Fluxus object. I told him that I was a painter and that I would keep painting. 'Well,' he said, 'that doesn’t matter, as long as you do it the right way.' Getting to know him, I understood that the right way was with a certain sense of justice."

"Like Willem de Kooning, Kirkeby is a virtuoso at creating unity from.. ..visual chaos.. .We Americans tend to think that Abstract Expressionism is a style of the past, dependent upon a worldview that no longer commands assent. And we have become suspicious of painterly virtuosity. This exhibition shows that we are wrong - Kirkeby’s splendid paintings demonstrate that Abstract Expressionism is a living tradition."

"One of the hardest-to-down myths about the evolution of mass production at Ford is one which credits much of the accomplishment to 'scientific management.' No one at Ford—not Mr. Ford, Couzens, Flanders, Wills, Pete Martin, nor I—was acquainted with the theories of the 'father of scientific management,' Frederick W. Taylor. Years later I ran across a quotation from a two-volume book about Taylor by Frank Barkley Copley, who reports a visit Taylor made to Detroit late in 1914, nearly a year after the moving assembly line had been installed at our Highland Park plant. Taylor expressed surprise to find that Detroit industrialists 'had undertaken to install the principles of scientific management without the aid of experts.' To my mind this unconscious admission by an expert is expert testimony on the futility of too great reliance on experts and should forever dispose of the legend that Taylor's ideas had any influence at Ford."

"Without titles and tier of officials how could one build an organization? When Flanders resigned as production manager taking with him his assistant Walborn, to work for a newly formed company, Henry Ford called Ed Martin and me to his office. "Ed and Charlie," he said, "Flanders and Walborn are leaving, and I want you to take their places. You Ed, will be plant superintendent and you Charlie, will be assistant superintendent. Just go out there and run the plant. I know you can do it. But there's one thing I want to add: work together as one. I don't ever want to hear that you can't work together. And don't worry about titles.""

"It isn't the incompetent who destroy an organization. The incompetent never get into a position to destroy it. It is those who have achieved something and want to rest upon their achievements who are forever clogging things up."

"Early one morning in the winter of 1906-7, Henry Ford dropped in at the pattern department of the Piquette Avenue plant to see me. 'Come with me, Charlie,' he said, 'I want to show you something.'"

"It took only a few days to block off the little room on the third floor back of the Piquette Avenue plant and to set up a few simple power tools and Joe Galamb's two blackboards. The blackboards were a good idea. They gave a king-sized drawing which, when all initial refinements had been made, could be photographed for two purposes: as a protection against patent suits attempting to prove prior claim to originality and as a substitute for blueprints. A little more than a year later Model T, the product of that cluttered little room, was announced to the world. But another half year passed before the first Model T was ready for what had already become a clamorous market..."

"The summer before, Mr. Ford told me to block off the experimental room for Joe Galamb, a momentous event occurred which would affect the entire automotive industry. The first heat of vanadium steel in the country was poured at the United Steel Company's plant in Canton, Ohio."

"Actually it took four years and more to develop Model T. Previous models were the guinea pigs, one might say, for experimentation and development of a car which would realize Henry Ford's dream of a car which anyone could afford to buy, which anyone could drive anywhere, and which almost anyone could keep in repair. Many of the world's greatest mechanical discoveries were accidents in the course of other experimentation. Not so Model T, which ushered in the motor transport age and set off a chain reaction of machine production now known as automation. All our experimentation at Ford in the early days was toward a fixed and, then wildly fantastic goal."

"By March, 1908, we were ready to announce Model T, but not to produce it, On October 1 of that year the first car was introduced to the public. From Joe Galamb's little room on the third floor had come a revolutionary vehicle. In the next eighteen years, out of Piquette Avenue, Highland Park, River Rouge, and from assembly plants all over the United States came 15,000,000 more."

"By August, 1913, all links in the chain of moving assembly lines were complete except the last and most spectacular one - the one we had first experimented with one Sunday morning just five years before. Again a towrope was hitched to a chassis, this time pulled by a capstan. Each part was attached to the moving chassis in order, from axles at the beginning to bodies at the end of the line. Some parts took longer to attach than others; so, to keep an even pull on the towrope, there must be differently spaced intervals between delivery of the parts along the line. This called for patient timing and rearrangement until the flow of parts and the speed and intervals along the assembly line meshed into a perfectly synchronized operation throughout all stages of production. Before the end of the year a power-driven assembly line was in operation, and New Year's saw three more installed. Ford mass production and a new era in industrial history had begun."

"Ed Martin, who was plant superintendent, and I practically lived at the Rouge."

"As Ford reduced prices on cars, there was inevitable pressure from Sorensen down to weed out men, to keep the vast plant moving at its maximum pace. The entire 70,000 felt the strain. The pace was never too fast for accomplishment, but it was fast enough to make the job relentless, harassing, and to many hateful. Yet despite its sinister aspect, which organized labor and more enlightened management would in time cure, the Rouge stood out as a pioneering accomplishment in industry which affected both automotive and other manufacturing processes."

"CHARLES E. SORENSEN was production boss of the Ford Motor Company until 1945. He is something of a legendary figure today, but hardly more so than when he directed the world's biggest mass production operation."

"Charles E. Sorensen was hired by Henry Ford in 1905 as a pattern maker, a highly skilled craft of cutting exacting wood patterns from blueprints and creating a three-dimensional representation for foundry castings. "Cast-Iron Charlie," so nicknamed by Henry Ford for his foundry expertise, was master of the River Rouge empire. Fearless and ruthless, he personally was as tough as "Cast-Iron" and not hesitant to display the fact. Though respectful of the Ford family, his loyalty was to Henry, as Edsel had known only too well."

"In all the years I knew Sorensen, he was never a politician in the plant. He was a cold aloof man, and never had any social relations with anyone in the company - myself included."

"A production genius and loyal servant of Henry Ford for thirty-nine years, Charles E. Sorensen is probably the best known of Ford's many lieutenants. His crowning achievement was design of the production layout of the mammoth plant at Ypsilanti, Michigan, where giant B-24 bombers were produced during World War II at the phenomenal rate of one every hour."

"The head of the Rouge plant, Charles E. Sorensen, was the most notorious of these tyrants, and he encouraged (or often forced) his foremen to follow his example. According to the company's historians, "As Ford reduced prices on cars, there was inevitable pressure from Sorensen down to weed out men, to keep the vast plant moving at its maximum pace. The entire [plant] felt the strain." Such dictatorial methods of control at every level of the plant's operations made the day-to-day experience of working there “relentless, harassing, and to many hateful.”"

"Charles E. Sorensen was said to be second in command to Henry Ford at Ford Motor Company. He was in charge of the company's car production. He was instrumental in developing the production process for the World War II B-24 bomber plane at the Willow Run Plant. His contribution increased the production of the B-24s from one a day to one an hour."

"Beautiful is what we see, More Beautiful is what we know, most Beautiful by far is what we don't."

"In the case of those solids, whether of earth, or rock, which enclose on all sides and contain crystals, selenites, marcasites, plants and their parts, bones and the shells of animals, and other bodies of this kind which are possessed of a smooth surface, these same bodies had already become hard at the time when the matter of the earth and rock containing them was still fluid. And not only did the earth and rock not produce the bodies contained in them, but they did not even exist as such when those bodies were produced in them."

"There are those among us who would have us say that the mysteries of the brain are completely solved and little needs to be added to its knowledge. It is as if these fortunate persons had been present when this magnificent organ was created."

"We need only view a Dissection of that large Mass, the Brain, to have ground to bewail our Ignorance...We admire...the Fibres of every Muscle, and ought still more to admire their disposition in the Brain, where an infinite number of them contained in a very small Space, do each execute their particular Offices without confusion or disorder."

"[On men who take off their shirts in public.] There's an awful lot of lard out there. No woman would do that."

"[On teaching her children to have good manners.] It's mainly because I wanted to send them out in the world and have everybody like them."

"[On working in television in the early 1980s.] I can't remember the number of times I was told, 'Don't you worry about that, you pretty little thing.' Wow. I've got a first-class degree from Cambridge, but OK."

"I don't want anybody to say to me, 'I'm fine with it, I accept you.' You think, wow, thanks so much, because if you hadn't I would have killed myself."

"There are only two countries in the world where representatives of the state religion automatically get a seat in the legislature: the UK and Iran. Obviously, there are fundamental differences between the two countries and in the religious representatives’ views, but it is symbolic all the same. How can it be that our democratic system draws parallels with an Islamic theocracy?"

"When the feminist movement started in the 60s and 70s, lesbians were often excluded, because we were told that we would make the movement less palatable. I have been excluded myself, so how could I do that to someone else?"

"[Guests have been asked to say their favourite thing about Denmark]."

"[Homophobic hostility is being caused by the] intemperate language on social media around the trans discussion. That's opened the door to people thinking it's now fair to have a general go at diversity, that the world is too woke. I don't know how you can be too woke — woke means being awake to the dangers that are around you. Mental health within the LGBTQ community is not good and that's not because you're not comfortable with who you are. It's the way society treats you."

"[Objecting to "radical feminists" opposition to trans people] How could you be so white and privileged and heterosexual and never marginalised in your life yet you decide to punch down on people?"

"[The issue of safe spaces for biological women] I don't get this. I'm in my 45th year in showbusiness, travelling the country touring. I've been to every service-station toilet in the country. Every one has a sign up saying male cleaners in attendance. I don't recall anybody saying, "We need to group up against these male cleaners." Why would someone dress as a woman when they could just pick up a cleaning cloth? If it really bothers you there's a toilet some place else. Go there. Shut up. Let's join together and fight stuff that actually needs fighting. Why are they talking about this when women in Afghanistan are not allowed to sing or to look a man in the face? Who is benefiting from all this? The patriarchy. It makes me so sad."

"When you are able to let your expectation of what might be go and listen to what is proposed, then you can create a new vision for yourself and see yourself walking in those shoes again."

"I’m acting but not acting because I’m in such a place where, as an actor, all I have to do is listen. Whether it be your voice, who I’m talking to, or whether it be the voice inside me — and maybe that’s the key that I’ve never, ever talked about."

"These are the things I look for because I’m more seasoned than I was years ago. Directing is not about me. As an actor, God, it becomes all about me, and I don’t want it to be about me anymore. I’ve had enough of me."

"The words are important, but the intention is of even greater importance. My job is to interpret that. As an actor, I’m an interpreter and a channeler. As a director, I’m able to interpret and then channel something original, infuse it with an original energy that extends and tells the story even more clearly."

"As a director, I always look for projects that are uplifting and change the way we think about the world we live in, so those films aren’t always mainstream. I’m looking to do something that encompasses a man who’s trying to find himself, but it’s an action film. He’s struggling with something he’s done in his past and he’s moving through it in a way that puts him in a position where he becomes a stranger in a strange land. I want to tackle that."

"I mean for me to play desire, to play the desire not to be lonely is one thing, to play the desire to allow someone to know me. Right. So I relate to that in my life. Because people know me in my life as Gus Fring or Moff Gideon or Stan Edgar or a plethora of other characters. And so who really knows me? And do I want them to know me? Right. It depends on who that is. Right. So I used to want fans to know me, but now they know me through a variety of different characters. So then I have to ask myself, what is the reveal for me? And it’s the same for Gus. In that moment I’m thinking, oh, I desire to be known. For me I know I desire to be loved, I desire to be admired. I desire to be held. Thank goodness I have children who I can, I have daughters who I become more and more real, the more mature I get because I’m able to ask, I tell them, ask for what you want, but do I tell myself to ask for what I want?"

"I look for a complete script. I look for characters who are inspiring, and who move our imaginations from one place to another. It just so happens that I’ve been asked to play characters in certain projects that have had somewhat of an edge, a darker side, if you will."

"I look at things to uplift me and to enthuse me; I don’t look at things to pay the bills and help me just survive. While some may be terrified of the characters he’s played, the actor views his antagonists in a different light. What I feel with each character is an excitement and enthusiasm, a deep commitment and vulnerability to allow them to speak to me."

"In life, we experience relationships sometimes as being traumatic, especially when outside events affect our parents. When they make decisions that we hold them responsible for –– that affect our lives, not knowing all of the reasons they made those decisions for their life –– [it] creates a little bit of [a] gap and a little bit of a traumatic experience."

"As children, we think that everything that’s done by our parents is done because of us, and sometimes that’s not very true. Sometimes things can never be right, but they can be understood in a different way if we’re able to listen to each other and do that vulnerable dance that’s required of us."

"I love parts of the story that reflect our innocence and then guide us to understanding. From seeing when we become hardened and non-innocent, how sweet those moments were and from whence we came."

"I've had some success in bringing some humanity to some of the villains that I played because I want to show that people are human and they do make mistakes and they do have the light and dark sides of themselves, and I had an idea that if we saw some of that we might be able to get wrapped around that in a way that we weren't able to before."

"You can't just cast off someone when you realise, oh, there's something inside that person that is a hint of something good," Esposito adds. "Why are they doing all this bad and then as TV shows unfold, you sort of get the clue. They were bullied when they were a child. They really seek all power, all of these things. So I found a niche and finding a way to bring some humanity in some ways to villainous persona."

"I had to find a way to drop my spirit and allow myself to be more observant of other people. So in the first years of Breaking Bad, I liked to do the method routine because it kept people away from me. No one wanted to come and say hello or chat about the weather. I’m not that chatty guy on set. I’m not the joker. Now after 12 years of playing the character, I can allow myself to be a bit looser."

"I come from a European family. I had a very worldly way of looking at humanity and people and culture and religion, so I was surprised coming to America in 1962 as a young child to find there was this delineation [between races] here."

"Sometimes I can’t even see out of my eyes because I’ve gone to a very dead drop space. Well, you could call it dead but maybe it’s actually very much alive. People get uncomfortable when you’re really listening, when you’re really paying attention, because we’re not used to that anymore. But now I can really see you. I can see all of you"