Jews From The United Kingdom

"I really don't care if I get anything or not. [...] I'm very glad that they recognise my considerable skills as a toilet cleaner."

"An OBE is what you get if you clean the toilets well at King's Cross station."

"[On his mother, Helen] Nice, little, white-haired lady. She was a killer. If she decided she wasn't happy about something, she was acid."

"If I could go back, I would spend much more, earlier. No question. This sounds absolutely crass, but I would have taken private planes earlier, would have had a chauffeur and better cars earlier, I'd have bought better paintings earlier."

"I think the lesbians have come over with considerable dignity and you have come over as an arsehole."

"So when I'm directing now, you see, I'm thinking of myself, I'm projecting myself in five weeks' time, sitting in a little room with two assistants, saying, "I now need a piece of film when Mr. Caine does this, or Mr. Moore does that." And if I haven't got it, I say, "Damn it, I should have gotten that." So all the time I'm imagining myself in that little X-time hence which is why I can shoot a very complicated pattern without any pre-planning. Because I'm two people. I'm Arnold Crust, the editor, and I'm Michael Winner, the director."

"[From the section entitled "Winner Talking" in a personal booklet] Lunacy is a very important quality for a successful director. Most top directors are quite a bit batty. That's what makes them great. They can conceive fantasies beyond the normal mind. Another quality is just keeping alive. It is quite remarkable that no director has been murdered in cold blood on the set."

"[To extras dressed as London policemen] You're just standing there! DOING NOTHING! Why should I pay you for doing nothing? I want you to run. You understand run! [...] R-U-N? RUN?"

"I think with less accomplished actors you often have to play tricks [...] You may actually want to upset them to make them look upset on the screen so they carry that forward."

"Why, since people must outnumber the minority that comprises the State and its oppressive forces, have they submitted so meekly to it?"

"Part of me wants to say with Wordsworth: 'Bliss was it in that dawn to be alive.' But if you ask me was it worth it, I don't think it was. If you pin me against a wall and ask: 'Schama, do you think more human happiness than unhappiness emerged?' I have to say no."

"It is the profusion of detail, and the rush of his anecdotal style that make his book both remarkable and engaging. We may perhaps learn from him how, in postmodernist manner, we may treat landscape as a text, with an impersonal author, history itself. "The sum of our pasts", he writes, "generation laid over generation, like the slow mold of the seasons, forms the compost of our future. We live off it.""

"Here Schama is at his best, allowing his imagination to roam in a series of free associations. The stories, as throughout the book, are told with verve, a Dickensian delight in idiosyncracies, and a stupendous ability to engage and entertain the reader."

"This is a book to be read and re-read, to be dipped into again and again and savored, because there is only so much that one can take in at a single reading. The writing style is the finest and most appealing by an academician that this reviewer has encountered in decades. In summation, there is hardly a page that does not contain a sentence or a paragraph that one would like to memorize and to quote. The opening paragraph of the book, in fact, will draw the reader to it like a magnet and keep him or her there to the final page. And that is no mean achievement for any writer in any age!"

"This is the most marvellous book I have read about the French Revolution in the last 50 years. It is beautifully written, with, every now and then, the most wonderful throw-away line. Its importance, in view of all the fuss over the bicentenary of the French Revolution, is that it concentrates very sharply on what the French Revolution was really about: violence and random killing, mostly in Paris... The book is beautifully written, fully illustrated, and throughout enlightened with a great deal of compassion as well as humour."

"Repeatedly, this reviewer was struck by the interest of Schama's comparisons and the manner in which his vignettes illuminate and advance his themes. His understanding of the human creation of place is profound. Schama has produced a great work of imaginative history and a powerful, yet sinuous, narrative. If this method is at times facile and his arguments or examples sometimes forced, his range is astonishing. Few historians could have written a work of this scope and scale."

"Inheriting the acronym from the father figure of radio populism, Rush Limbaugh, Trump habitually dismisses his Republican adversaries as Rinos (Republicans In Name Only). But the gravamen of the charges levelled by Liz Cheney and Chris Christie is that the real Rino, the fake conservative, is actually Trump himself."

"To be fully MAGA is still to live, 24/7, within a parallel universe, hermetically closed off from the inconvenient intrusion of fact, blissfully captive to a fantastic theology."

"Right through British history we see this constant pull between piety and pragmatism, between deference to the monarch as a godlike figure, and a requirement that he runs the business of Albion with practical efficiency."

"If there's one four-letter word that runs through my television history, oddly it is "Rome". Over time, I came to realise that Rome doesn't just come and go in England's history; instead, we have had an extended love-hate relationship with Rome, whether as empire or church."

"Landscape is the work of the mind. Its scenery is built up as much from the strata of memory as layers of rocks... The book [Landscape and Memory] is a celebration of the improbable resilience both of the Earth and of the ability of these cultural contacts to survive the nightmares of late capitalism and late industrialization. I don't want to be understood as some anti-environmentalist, which I am most emphatically not, but I do have an argument with the notion that there is this determined history whereby technological society is necessarily going to mean oblivion for nature."

"Historians are left forever chasing shadows, painfully aware of their inability ever to reconstruct a dead world in its completeness however thorough or revealing their documentation. We are doomed to be forever hailing someone who has just gone around the corner and out of earshot."

"When I started writing [Citizens], I thought the revolution of 1789 then goes on the skids and turns into the Terror of 1793. But I became more and more alarmed by what happened in 1789, and more and more bleak about what it is we are supposed to be celebrating. It dawned on me that no sooner had the Declaration of the Rights of Man been signed than a law was passed which allowed opening of mail, stopped freedom of movement and had a brutal attitude to who was a patriot and who was not. Then there was the violence. It was not the fact of decapitation so much as the way these people self-consciously understood what you could do with violence, the way violence could construct allegiances. I'm not saying no good came of the revolution. There was the definition of a citizen with equal rights before the law, the emancipation of the Jews and black slaves – these were intrinsically noble. But the way the revolution enacts these doesn't accidentally produce violence. It necessarily produces violence. And if you look at the landscape of France in 1799 with Bonapartist military dictatorship, the balance is unhappy rather than happy."

"I remember we thought that, whatever else happened in the remainder of the century, two traditional issues were going to go away. One was the nation, which was simply going to dissolve because the new realities were international. We thought the story of the nation had come to an end in 1945 in the rubble of Berlin. The second was organized religion—the new world realities would be technological. I've been kicking myself ever since. Religion and the persistence of nationalism have proved two of the most overwhelmingly important issues."

"In a musical sense, it seemed like all the good intentions had gone awry, very quickly. I mean, we got back from America and Blur had made The Great Escape, which I thought was a really, truly awful album - so cheesy, like a parody of Parklife, but without the balls or the intellect. And Oasis were enormous and I always found them incredibly dreary. There was this uncritical reverence surrounding the whole thing"

"Riding on anything Anything’s good enough Who would’ve thought it of someone like you"

"Is there something you lack When I'm flat on my back Is there something that I can do for you?"

"Let's go siesta In your Ford Fiesta"

"I just thought it was better to be Pete Best than Linda McCartney"

"So, to borrow the phrase Tony Blair used about himself during the first row over New Labour's funding, I regard Lord Levy as 'a pretty straight sort of guy'."

"There is a general feeling, and it is increasingly sensitive, that this is all about 'get the Jew'. I do not play the anti-Semitic card. But within my immediate community, and the Jewish community generally, they are sensitive to the fact that this is becoming all about one Jew."

"Undoubtedly the notional leader of British Jewry."

"Like all weddings it had left the strange feeling of futility, the slight sense of depression that comes to English people who have tried, from their strong sense of tradition, to be festive and sentimental and in high spirits too early in the day. The frame of mind supposed to be appropriate to an afternoon wedding can only be genuinely experienced by an Englishman at two o'clock in the morning."

"On the first occasion she had sat next Henry James at dinner, she had not been able to resist putting to him certain questions about his books, for she had been a lifelong admirer of them, and that, at last, after he had answered some of these murmured inquiries, he had turned his melancholy gaze upon her, and had said to her, "Can it be— it must be— that you are that embodiment of the incorporeal, the elusive yet ineluctable being to whom through the generations novelists have so unavailingly made invocation; in short, the Gentle Reader? I have often wondered in what guise you would appear or, as it were, what incarnation you would assume.""

"Some men are born husbands; they have a passion for domesticity, for a fireside, for a home. Yet, curiously, these men very rarely stay at home. Apparently what they want is to have a place to get away from."

"Somehow she had thought of him so much that when she actually saw him again her affection seemed cooler. Had she worn out the passion by dint of constancy?"

"She thought that most women make a great mistake in allowing dress to be the master instead of the servant of their good looks; many women were, she considered, entirely crushed and made insignificant by the beauty of their clothes."

"He had no special hobbies, but he needed luxury in general of a kind, and especially the luxury of getting things in a hurry, his theory being that everything comes to the man who won't wait."

"As a rule the person found out in a betrayal of love holds, all the same, the superior position of the two. It is the betrayed one who is humiliated."

"Lady Cannon's gone to a matinée at the St. James's. We had tickets for the first night, but of course she wouldn't use them then. She preferred to go alone in the afternoon, because she detests the theatre, anyhow, and afternoon performances give her a headache. If she does a thing that's disagreeable to her, she likes to do it in the most painful possible way. She has a beautiful nature."

"Well, he would, wouldn't he?"

"In his Nobel Prize acceptance speech last year, laureate Harold Pinter said 'a writer's life is a highly vulnerable, almost naked activity. We don't have to weep about that. But it is true to say that you are open to all the winds, some of them icy indeed.'"

"Language is actually employed to keep thought at bay. The words ‘the American people’ provide a truly voluptuous cushion of reassurance. You don’t need to think. Just lie back on the cushion. The cushion may be suffocating your intelligence and your critical faculties but it’s very comfortable."

"The crimes of the United States have been systematic, constant, vicious, remorseless, but very few people have actually talked about them. You have to hand it to America. It has exercised a quite clinical manipulation of power worldwide while masquerading as a force for universal good. It’s a brilliant, even witty, highly successful act of hypnosis."

"When we look into a mirror we think the image that confronts us is accurate. But move a millimetre and the image changes. We are actually looking at a never-ending range of reflections. But sometimes a writer has to smash the mirror — for it is on the other side of that mirror that the truth stares at us. I believe that despite the enormous odds which exist, unflinching, unswerving, fierce intellectual determination, as citizens, to define the real truth of our lives and our societies is a crucial obligation which devolves upon us all. It is in fact mandatory. If such a determination is not embodied in our political vision we have no hope of restoring what is so nearly lost to us — the dignity of man."

"The invasion of Iraq was a bandit act, an act of blatant state terrorism, demonstrating absolute contempt for the concept of international law. The invasion was an arbitrary military action inspired by a series of lies upon lies and gross manipulation of the media and therefore of the public; an act intended to consolidate American military and economic control of the Middle East masquerading — as a last resort — all other justifications having failed to justify themselves — as liberation."

"A writer's life is a highly vulnerable, almost naked activity. We don't have to weep about that. The writer makes his choice and is stuck with it. But it is true to say that you are open to all the winds, some of them icy indeed. You are out on your own, out on a limb. You find no shelter, no protection — unless you lie — in which case of course you have constructed your own protection and, it could be argued, become a politician."

"It's a strange moment, the moment of creating characters who up to that moment have had no existence. What follows is fitful, uncertain, even hallucinatory, although sometimes it can be an unstoppable avalanche. The author's position is an odd one. In a sense he is not welcomed by his characters. They resist him, they are not easy to live with."

"But the real truth is that there never is any such thing as one truth to be found in dramatic art. There are many. These truths challenge each other, recoil from each other, reflect each other, ignore each other, tease each other, are blind to each other. Sometimes you feel you have the truth of a moment in your hand, then it slips through your fingers and is lost."

"Each play was, for me, 'a different kind of failure.' And that fact, I suppose, sent me on to write the next one. (p. 15)"