People From Quebec

"8 December 2009 per Globe and Mail"

"People in many Western countries with troops in Afghanistan may be alarmed to note that, after all the blood and treasure expended there to help that country build a democracy, it continues to vote with Iran in opposing the Western-led effort to denounce the Islamic Republic for ­– in the words of one of the resolution’s sponsors – a ‘continued deterioration’ in Iran’s human rights record."

"But though there’ll be an additional resolution on Syrian human rights violations on Tuesday, we regret that the General Assembly continues to overlook a host of other pressing human rights situations, not least in China, Cuba, Zimbabwe, Russia, Venezuela and Saudi Arabia.”"

"Of course it’s commendable that the UN would – albeit by a stunted majority – again pass resolutions that highlight gross human rights violations in North Korea, Burma and the Iran,” said Hillel Neuer, executive director of the Geneva-based monitoring group UN Watch."

"That the U.N. Human Rights Council chose to honor an apologist for genocide perpetrators only underscores the inverted morality of this Orwellian body. Just when we thought the council had already reached rock bottom, today it found a way to sink even deeper."

"Congress ought to ensure that U.S. delegates continue to vigorously oppose the special agenda item targeting Israel; the one-sided resolutions; the council experts who subject Israel to irrational degrees of scrutiny and criticism; and the disproportionate amount of emergency special sessions that target Israel."

"In this year’s session, the U.N. General Assembly adopted 20 politically motivated resolutions targeting Israel—and only six resolutions criticizing the rest of the world combined. There were three on Syria, one on Iran, one on North Korea, and one on Crimea. Not a single resolution was introduced to address the victims of gross human rights abuse in, for example, Saudi Arabia, Turkey, Venezuela, China, Cuba, the Philippines, Pakistan, Vietnam or Zimbabwe."

"If in the past, you didnt cry out when thousands of protestors were killed and injured by Turkey, Egypt and Libya, when more victims than ever were hanged by Iran, women and children in Afghanistan were bombed, whole communities were massacred in South Sudan, 1800 Palestinians were starved and murdered by Assad in Syria, hundreds in Pakistan were killed by jihadist terrorist attacks, 10,000 Iraqis were killed by terrorists, villagers were slaughtered in Nigeria, but you ONLY cry out for Gaza, then you are NOT Pro- Human Rights, you are only Anti-Israel."

"A comparable error was made by Professor Jacob Viner in an important article on laissez-faire in Smith’s economics. He contrasted the mature realism of The Wealth of Nations with the youthful idealism of the Moral Sentiments, and quoted five passages from the ethical work as evidence for his view of it. The first of his quotations was in fact written for the far from youthful sixth edition."

"Jacob Viner used to assign exam questions that showed how Ricardo’s Chapter 2 recognized (in modern parlance): P_2 / P_1 = \frac{\text{marginal cost in labour}_1}{\text{marginal cost in labour}_2} = \frac {1/\left[{\partial {Q}_/\partial{L}_}\right]}{1/\left[{\partial {Q}_/\partial {L}_}\right]} But, Viner insisted, this was compatible with rent’s being 99 per cent of national income and labour’s importance being derisory. Would that more historians of economic analysis had taken Viner’s EC 301 or brooded more on Ricardo’s text."

"It is not on the table for the simple reason that the constitution is clear: it's one member, one vote."

"Mr. Harper always has an approach that is divisive and we don't agree with that.Create an environment where people are talking to each other, where they are helping each other, instead of an environment where you create things that will go against the security of the people."

"Aujourd'hui, nous pleurons un grand Canadien, un grand leader. Il était pour plusieurs d'entre nous, sinon pour tous et toutes, un ami, un collègue avec qui nous partagions quotidiennement. Au nom de tous les néo-démocrates, je veux remercier tous les Canadiens pour leurs messages d'amour, leur message de sympathie pour Jack. Ceci, je dois vous le dire, nous aide à traverser ces moments difficiles et à continuer le combat pour créer un endroit meilleur où vivre"

"We have to do it and we will do it. We represent Canadians but Canadians will be there for us too"

"We promise we'll carry on."

"I have to say, on behalf of the NDP, from coast to coast, I want to thank all Canadians for their wishes and really, their love for Jack."

"We are mourning today a great Canadian and a great leader. He was a friend, he was a colleague for many of us, if not all of us."

"I'm honoured by the confidence the council has shown in me as well as my team and Jack Layton. I clearly have big shoes to fill, but I'm also fortunate to be standing on such a solid foundation. Jack Layton has spent eight years building this New Democrat movement for a better Canada, eight years building a team that is ready to tackle any circumstance with hope and optimism. That's exactly what you can expect from us in the coming weeks"

"We remember the Tommy Douglas quote Jack included in every email he sent: 'Courage my friends, 'tis never too late to build a better world'."

"Nycole Turmel is already doing a very good job, and watch out Stephen Harper.Our team is united behind Nycole Turmel and I have no doubt she'll do a very, very good job in the House of Commons."

"I think it's very disappointing, I don't know that I have a lot to say but I do think Canadians will find this disappointing. I think Canadians expect that any political party that wants to govern the country be unequivocally committed to this country. I think that's the minimum Canadians expect."

"Jack Layton improved the tone of the debate in Parliament. He firmly believed we could have passionate disagreements without being disrespectful or disgraceful to each other. Let us all honour his memory by conducting the next session of Parliament in this spirit"

"Jack Layton believed so much in the power of democracy and of this Parliament. I invite all honourable members in this House to join me in picking up this torch and making this an institution in which Canadians can be proud"

"We have lost a great Canadian.We have lost a friend. But I know that when I look out at all of you I am looking at Jack Layton's legacy."

"We are not considering at all a prolongation or adding months or time to the mission in Libya."

"We must remain focused on the job of building our party. Jack showed us how we can do politics differently, how we can listen and respect other opinions and at the end of the day, remain united. And that's what we need to do today. We'll take difficult decisions but at the end of the day, we need to walk out of here and be united."

"New Democrats will continue to propose ideas that put Canadians families first, and push for real action to ensure families aren't being left behind in this economy. The question we have for Stephen Harper and his Conservative caucus is: will they keep sitting back waiting around for the U.S. economy to rebound?"

"The main thing missing from cartoons is today that old cartoons were cartoony. They did things you can't do in any other medium. Today's cartoons are very conservative and are more like live action. The characters look the same in every frame of the dang cartoon. The old cartoons squashed, stretched, and did crazy expressions. They were imaginative and crazy. A lot of cartoons aren't imaginative, they just say things. It might as well be radio. There is no point in having anything to look at in modern cartoons. But you can't say that about every cartoon. Genndy Tartakovsky's cartoons are beautiful. The closest thing now to what I'm saying is SpongeBob but even that doesn't go very far. It's like a conservative version of Ren & Stimpy."

"Let me make this clear: Ren & Stimpy really is a children's show. It was made for kids. I'm not putting anything in there that I don't think a kid can watch, or should watch. It's completely a kid's show."

"Not all cartoon humor is just about having bugged-out eyes and tongues flying out of people's heads."

"Forget the takes. Takes are cheap shots. Anyone can do a goddamn take. [...] You don't have to be a genius to draw a take. It's emotions—the full range of emotions—that works in Clampett's cartoons."

"Illustration from the late 1900s up through the middle of the 20th century was absolutely amazing. In general, American culture was at its highest skill-wise in every aspect of human life in the 1940s. It's all been downhill since then. You just open an old magazine from the 1930s and '40s and look at the illustrations in it. There’s nobody alive that could touch the way they could draw back then."

"We lunched in Fregene: grilled sardines sprinkled with parsley and lemon. Federico ate daintily, like someone with no appetite. The beach was deserted, the wind brisk. In the distance stood the abandoned lighthouse he filmed for 8 1/2. Like someone about to propose a toast, he stood up and "recited" from King Lear :"

"The first documentary I saw as a child was Robert Flaherty’s Nanook of the North (1922) broadcast one Sunday afternoon. Nanook enchanted me by his courage to smile in a frozen wasteland, and by the simple fact that he wore a fur coat rather than a military uniform: this gentle hunter wasn’t a conqueror. Later, I understood how great Flaherty was: he told a timeless story without using commentary or pedagogues, and he didn’t interview Nanook like a celebrity or an aggressive talk-show host. He remained off-screen, observing and listening to create that exceptional complicity we feel in this documentary that eschews didacticism. The emotion of life found its counterpart in the emotion of art - a rare and precious achievement in a genre that is often limited to the emotion of the informational narrative."

"It was Italian playwright and screenwriter Ennio Flaiano who first spoke to Fellini of Fernando Pessoa during their collaboration on I Vitelloni (1953). Fellini claimed, however, that it was not until he lunched with Anthony Burgess in the mid 1970s (when the British writer owned a country house in Bracciano north of Rome) that he began reading the Portuguese poet in earnest. This is not to suggest that Pessoa influenced Fellini in any direct way but simply to note a genial coincidence embedded within two autobiographical masterpieces. The first quotation is from Pessoa’s O Livro do desassossego: ‘These are my Confessions, and if in them I say nothing, it’s because I have nothing to say.’ The second is from Fellini’s Otto e mezzo (1963) during the crucial night scene at the base of the scaffolding when Guido confesses to Rosella, “I have really nothing to say in my film. But I want to say it anyway.” Suddenly, the disparate obsessions of these two great Mediterranean minds seem to fold into one another, if only for an instant, like the sounds of vibrating wires touched simultaneously. Whatever the ultimate significance may be, it amuses me to think that textual coincidences of this nature are proof of the brotherhood of artists."

"To my delight, Federico had seen Dans la ville blanche (1983) by Swiss director Alain Tanner. Enthusiastic about Bruno Ganz’s performance, he also was impressed by the film’s startling visual poetry of Lisbon achieved by transferring inferior film stock onto 35mm. It was exactly this kind of uncomplicated technical innovation that inspired Federico during the writing of Attore. Conceived in 1992, Attore focused on the craft and the psychology of actors. Having completed a film treatment with roles for Mastroianni, Giulietta Masina, and Paolo Villagio, Fellini was now wondering if he should provide Marcello with a home movie camera to be used in a loosely Shakespearian sense that all the world’s a film set. The 8mm footage of intimate memories of the theatre from his Rimini childhood would then be transferred to 35mm – a most intriguing idea that would have been a new departure for the Maestro had he lived to bring it to the screen."

"Fellini has sometimes been accused of not being interested in the work of other directors but I never found this accusation to hold true. The Federico I knew was not only a voracious reader but extremely interested in hearing about international directors, most notably, Nanni Moretti, Pedro Almodovar, David Lynch, Spike Lee, Akira Kurosawa, David Cronenberg, Wim Wenders, Woody Allen, Martin Scorsese and Stanley Kubrick. Clearly, part of the pleasure of discussing these directors was the stimulus for new ideas that their latest films gave him. Although we never explored Portuguese film in any depth, the films of Manoel de Oliveira and Joao César Monteiro genuinely fascinated Federico. At the urging of Mastroianni, he went to see A Divina Comédia (1991), Oliveira’s superb allegory about Western civilization, and returned enthralled. He had long been obsessed by the theme of insane asylums and Oliveira’s masterful blend of philosophy and religion appealed to him at a time in his life when such questions as death and resurrection had become pressing concerns. I do not know where or in what format Federico saw Monteiro’s Recordaçoes de Casa Amarela (1989) but it was a film he described as “deliriously eccentric, a satirical bizarrie that Bunuel would have adored"."

"The filmed interview is an art extemporized under difficult conditions and successful only when the interviewee hasn't prepared his replies beforehand."

"The single greatest influence on my work as a filmmaker has been the celebrated Interviews with Francis Bacon (1980) by David Sylvester. Sylvester is a master of the art of complicity: he knows how to manipulate and exploit it. Complicity requires being cautiously intellectual yet profoundly human in the sense that the interviewer must act as the concerned midwife, allowing the interviewee to express himself while at the same time guiding his thoughts to a satisfactory conclusion through sensitive provocation."

"In a synchronistic way, the Jungian term of great significance for Carolyn Carlson, her art is in accord with Hölderlin's phrase, "Poetically, man dwells on this earth." After the century of Fascism, we enter the brave new world of the digital era where bombs are grafted inside the body in a corruption of the word spiritual that Malraux never imagined. For Carlson, the question is no longer, "How to live together?" but rather, "How to live poetically our dwelling place?""

"A filmmaker should never assume he's superior to his subject. I often find that even the simplest topic remains an enigma. The best film portraits not only evoke that enigma but ingest it in a process that renders what's invisible visible."

"I don’t like making didactic, pedagogical documentaries based on standard formulas of narration: I'm only interested in the ambitious French tradition of the documentaire de création where the film, if successful, is not about something but that something itself. The goal is to incorporate areas of risk and paradox that we associate with cinematic art."

"Italo Calvino said the artist reveals that bit of truth hidden at the bottom of every lie. Art is all about the art of lying. The artist’s imperative is to create a supreme fiction, a lie that, paradoxically, discloses a truth. It's precisely this kind of paradox that Calvino and Fellini adored."

"Without once compromising his artistic integrity, Fellini imagined a body of work -- as opposed to a suite of spin-offs, remakes, potboilers and so on -- where each production can be ranked as among the finest of experimental films ever to reach and influence an international public. There is a breathtaking scope to that achievement and great courage in the process: surmounting unbelievable resistance from producers, enemies of all kinds and jealous colleagues, career reversals, and poor health, Fellini held true to his own vision of cinema forged in the smithy of his soul."

"Fellini was a man of many selves and contradictions: he quoted Dante with genuine emotion while executing pornographic doodles on the table napkin then balked at paying the lunch bill while handing out millions of lire to the beggars of Rome. Although he boasted he was heterosexual, he nonetheless directed one of the greatest bisexual films of all time. He was Mr. Cool as well as the Nutty Professor. He contains multitudes and the journey to his center never ceases. Quite simply, you end up cherishing an Onion Man with no center. Federico really had a rough time of it but pretended otherwise and had the grace never to expose his personal problems in public. And then there are the films that continuously generate new meanings. For example, 8 1/2 contains alembicated allusions to Hamlet of tremendous power and beauty that resonate in the mind long after the film is over."

"With a few exceptions, Fellini's films have failure and despair running through them: Life continues, but I can't imagine 'Felliniesque' as an exclusively uplifting adjective. Fellini's best films are the ones that distill this essence -- the paradoxical quality of melancholic ecstasy, a surreal, bittersweet vitality -- to perfection."

"Fellini was a hugely original spirit, a bona fide gagman, the king of contradiction, a well-oiled motor mouth -- in short, anything except a thinker. He needed the interviews and the media because it was during these seeming exercises in vanity that he discovered things about himself. If you pushed him hard enough, he would come up with ideas that surprised even him."

"One of the key topics, for me, is a study of the individual in relation to crowds and to power. A film essay on crowd psychology would avoid commentary (it has become the madness of secondary discourse in many documentaries) and rely wholly on sound and image. Ideally, it would try to provide us with new concepts on the nature of society, on violence, and on the political bestiality of our times that is linked to the way the media has become a plague of words and images stripped of substance. It is a plague infecting our lives and, as a consequence, the history of nations with all that is sensational, random, and confused."

"To understand is to marvel. To marvel with understanding is to achieve the highest of intellectual states, to justify the triple raison d'être mentioned above: to be sensitive to theology, to aesthetics, and to science."

"A scientist has the additional responsibility that comes with being a specialist: explaining science to the public, advising of its usefulness and benefits, and warning of its dangers and disadvantages. This is the responsibility of any specialist."