All Quotes

"If every home does this and does not have to go to the hospital to treat uncomplicated malaria, it would go a long way to reduce the burden of malaria."

"We need more research to understand why the control measures put in place have not reduced the burden and why interventions are not deployed as well as how they can be deployed"

"Comedy comes from a very deep background: I went down deep, collected my shells and when I came up, I made sure that everything I had brought back did a somersault. Humour does not come only from ridicule; on the contrary, we laugh not at someone but thanks to someone: this is its greatness."

"I have always read a lot, ever since I was a young girl. [...] Later, I started writing, but only for myself. The stimulus came after reading Proust's Recherche in its entirety. When I decided to submit something to a publishing house and was told that no, it wasn't good enough, I was very satisfied."

"[Marchesini:] 'We have always been very close. There is always respect, friendship and professionalism. We still keep in touch even now that our paths on stage have separated. When Massimo told us he wanted to do other things on his own, we were sorry, but it also seemed like the most natural and right thing to do.‘ [Interviewer] ’What was it like being between two men?" [Marchesini:] 'I always felt like a fusilli inside a packet of macaroni, but that's fine with me. All in all, when I think about what we did, I feel that we had a sense of success, yes, we did, and in the end, perhaps the responsibility of always having to live up to expectations weighed on us a little."

"Acting means telling the truth about things, about the world, even if it may seem like a contradiction. Because fiction is one thing, acting is another."

"The overall productivity of our national economy is not high enough. To put it even more bluntly: Work-life balance and a four-day week will not be enough to maintain our country’s current level of prosperity in the future, which is why we need to work harder."

"The Church needs men and women to offset the irreligious tendency which is taking the soul out of charity, by secularizing it; men and women who will preserve religion among the poor and neglected ones, and thus add to the great influence for good of the Church in this country in preserving law and order."

"Instead of your non-stop politicizing, criticizing and demeaning the System which includes the judicial power of the Philippines, you wait for the decision of the Supreme Court on some issues you rally behind together with some politicians and "prostitute" the dignity of your being ministers of God for self-seeking objectives."

"Just because a man is your ally does not mean he is on your side."

"The first time I saw Hitler talk, it was uh... 1922, upstairs of a coffee shop, for maybe 30 people. This was peacetime, but it was a peace without food, jobs, shoes. And he stood up and he said "French bellies are being filled with German pain." And then, "If you make threats, you need bayonets. Rearm! Down this Versailles!" So that night, I became a National Socialist."

"No man has ever beaten me."

"[After being defeated at the trial] Years from now, I wonder what you will say about us. Will you even acknowledge we were human?"

"[On Göring] You know what sets him apart from us? Nothing."

"[to Göring] There's a difference between us bombing war factories and civilians dying as collateral damage! And you building 1200 human slaughter houses designed to exterminate an entire race! And you know it!!"

"[to Göring] You think you're a great man?"

"I know more about this man than anyone else on the planet. You're walking into a trap!"

"Sergeant Howie Triest: [to Douglas] Do you know why it happened here? Because people let it happen."

"An epic World War ll thriller based on true events"

"Russell Crowe - Hermann Göring"

"Rami Malek - Douglas Kelley"

"Leo Woodall - Sergeant Howie Triest"

"John Slattery - Burton C. Andrus"

"Mark O'Brien - John Amen"

"Lydia Peckham - Lila"

"[Responding to the perceived surrealism of Clangers] They're surreal but logical. I have a strong prejudice against fantasy for its own sake. Once one gets to a point beyond where cause and effect mean anything at all, then science fiction becomes science nonsense. Everything that happened was strictly logical according to the laws of physics which happened to apply in that part of the world."

"We would go to the BBC once a year, show them the films we'd made, and they would say, "Yes, lovely, now what are you going to do next?" We would tell them, and they would say, "That sounds fine, we'll mark it in for eighteen months from now", and we would be given praise and encouragement and some money in advance."

"That was all, but I was fizzing with excitement. It didn't matter what the picture was of. It didn't matter that Master Ho had stumbled rather than walked… I had done something momentous. I had opened up another dimension to the still picture. I had given it the extra dimension of time. I had made it come to life."

"I was also invited to give a couple of informal seminars to the Animation School at the RCA. These were so informal that they could hardly have been said to happen, but they taught me more than I really wanted to know about the way in which our simple craft had been inflated into a maniac pretentious pseudo-art."

"The films we made were aimed at the Head of Department at the BBC, who was about 57 at the time, and she was a nice lady called Ursula Eason, and very humane and ordinary, and full of fun. If we had studied children in any way, apart from having children, we wouldn't necessarily have succeeded in selling the films, because the woman at the BBC had fairly clear opinions of what she would find acceptable, and these were conditioned in some ways by the fact she was a middle-aged, English (well, Irish actually, if you go all the way back) lady, who was brought up as I was on Beatrix Potter, A. A. Milne, and Lewis Carroll, and all the sort of 'Founding Fathers' of English Tweeness."

"Being creative, having to do something new, invent something, alter things, in order to show you're still there is a personality fault, basically. I think a lot of people who have done creative things do so because if they don't, they cease to exist. This, I know, is true of myself, and I wouldn't wish it onto other people. There is nothing quite like as frightening as having a wife and six children and a blank piece of paper, which is your next year's feeding, and you have to pull out of the sky your livelihood. The idea of being able to live on one's creativity, where you are dubious of its continuity, is a recipe for terrible anxiety."

"All the way through, if you look at my films, you will see that my animation is very economical, but very powerful. Because, I'm not recreating life, I am illustrating a story and telling a story by an extension of the pen. I'm coming at it from the other direction, and what is the minimum amount of visual delivery that I have to do to get this to appear to be alive, which one has accepted more or less anyway that they're there, and to convey the movements, and it is surprising how much one needn't do, and how much better it is from not doing those things that animation doesn't do well."

"In a comparatively late period – that which followed the rise of historical literature among the Greeks – we find a belief generally prevalent, both in the people and among the learned, that in ages of very remote antiquity, before the name and dominion of the Pelasgians had given way to that of the Hellenic race, foreigners had been led by various causes to the shores of Greece and there had planted colonies, founded dynasties, built cities, and introduced useful arts and social institutions, before unknown to the ruder natives. The same belief has been almost universally adopted by the learned of modern times … It required no little boldness to venture even to throw out a doubt as to the truth of an opinion sanctioned by such authority and by prescription of such a long and undisputed possession of the public mind, and perhaps it might never have been questioned, if the inferences drawn from it had not provoked a jealous enquiry into the grounds on which it rests,"

"When, however, this spirit once awakened, it was perceived that the current stories of these ancient settlements afforded great room for reasonable distrust, not merely in the marvellous features they exhibit but in the still more suspicious fact that with the lapse of time their number seems to increase..."

"It seems possible and even necessary to take a middle course between the old and the new opinions."

"Settlers of purely Egyptian blood, crossing the Aegean and founding maritime cities, appears inconsistent with everything we know about national characters."

"This was Fiesta. Overhead were strings of colored lights. In the center of the square was a small green park, trees and benches and a draped in red-and-orange . A low cement wall ran around the park with entrances at each corner. Entrances hung with grotesque standards. In the street that circled the park, were thatched booths, smelling of food, the acrid smell of ; stacked with cases of , decorated with s, cheap canes topped with celluloid dolls wiggling feathers, and cheap sticks with flimsy yellow birds floating from them, balloons on brittle wooden sticks.This was Fiesta: a run-down carnival."

"“We didn’t know it was only the first then. It was a girl down on . She was a nice enough kid for the life she lived, I guess. Danced in a bump-and-grind house down there. We found her in an alley. Strangled.: He picked up his glass, emptied it. “No clues. Nothing. …”"

"Reading Dorothy B. Hughes’s novel ' for the first time is like finding the long-lost final piece to an enormous . Within its s, its -scented shadows, you feel as though you’ve discovered a delicious and dark secret, a tantalizing page-turner with sneakily subversive undercurrents. While only intermittently in print for much of the last half century, its influence on crime fiction is unsung yet inescapable. From Patricia Highsmith and Jim Thompson to Bret Easton Ellis and Thomas Harris, nearly every “” tale of the last seventy years bears its imprint—both in terms of its sleek, relentless style and its claustrophobic “mind of the criminal” perspective. But its larger influence derives from Hughes’s uncanny grasp of the connection between violence and misogyny and an embattled masculinity. And its importance extends beyond form or genre and into cultural mythos: the birth of ."

"Morgan is not a carbon copy of the Americans or the British, but an independent thinker, and it's nice to hear him speak."

"There are storytellers from the island, such as Bufalino, Sgalambro, Tomasi di Lampedusa, who made their debut late in life. It is as if, for years, they had pointed a large telescope at the surrounding world. Then, drawing on their reserves and giving us, as Bufalino does, novels of overflowing sensuality, a Dionysian Sicily, full of flavors and colors."

"The bad moments I've had in my life have only been cosmological in nature. Once during the night I got up, came into this room and looked my fear in the face, carefully, and the crisis was resolved. It's not easy, because at that moment you feel like a being thrown into nothingness, you have no ties to anything. It is the dark night of St. John of the Cross, suffering that seems insurmountable, unbearable, and yet you can overcome it in the blink of an eye. Just remember that we are impermanent. We think we are eternal, and that is our misfortune. They don't teach us how to die in school; the ancient Egyptians, on the other hand, built a civilization around death."

"‘’Il Gioco dell'Eroe‘’ by Gianluca Magi is a large stone thrown into a still pond. An invitation to inner life and its (inevitable) evolutionary transmutation."

"And then culture is a difficult word to interpret. We are one of those countries that has only thought about stealing."

"The extraordinary and disastrous event, albeit pleasantly bizarre, is death. One day I will die silently, I will enter esoteric and synoptic spaces, moving in siderurgical and negotiable conditions. Farewell world, I will say then. I am dead forever."

"Battiato [...] is considered an intellectual author, but if you analyze his lyrics, they are complete nonsense: quotes upon quotes with no real meaning."

"Una canzone del 1991 del cantautore Battiato, intitolata Povera patria, riuscì a cogliere in anticipo lo spirito dei tempi. L'Italia vi era rappresentata «schiacciata dagli abusi del potere | di gente infame che non sa cos'è il pudore», abitata da «governanti, quanti perfetti e inutili buffoni!», ma «la primavera tarda ad arrivare [...] non cambierà, non cambierà, | no cambierà, forse cambierà». Dalla canzone Viva l'Italia del 1979 di De Gregori, in cui era orgogliosamente rivendicata, con esplicito riferimento alla strage di piazza Fontana, «l'Italia del 12 dicembre, | l'Italia con le bandiere, l'Italia nuda come sempre, | l'Italia con gli occhi aperti nella notte triste, | viva l'Italia, l'Italia che resiste», erano trascorsi soltanto dodici anni, ma quelle parole sembravano provenire da un'altra epoca. La percezione di questa sfasatura temporale derivava dal fatto che la canzone di De Gregori illuminava il passato della nazione mentre quella di Battiato il suo futuro: come se in quell'arco di tempo sospeso e improvvisamente dilatato, l'Italia fosse stata presa in un vortice, sollevata da un turbine e poi precipitata giù."

"He once came to visit us in Montreux while we were recording Zero, and we spent two wonderful days with him, during which he taught us so much. I, [...] am always looking for a father figure. Not only in music: he took us to a Middle Eastern restaurant, where he ordered in Arabic. But somehow, we managed to take him to McDonald's: he had never been there before. We let him try fries with ketchup. At first he was suspicious, but he took a fry, dipped it in ketchup, and said, “Guys, this is delicious! What have I been missing...”"

"We are faced with a double temptation when viewing his [pictorial] works: on the one hand, we would like to indulge in a naive judgment, unaccompanied by the clamor that comes from his legend as a musician, singer, and poet; on the other hand, we feel that we cannot escape this legend, as it necessarily conspires to give us the complete portrait of the man. In other words, if we were to try to channel Battiato's painting into a convenient bed of neo-primitivism, forgetting the operational and intellectual richness that underpins it, it would risk appearing to us as the hobby of an episodic and half-hearted artist; whereas, on the contrary, observing it with both eyes, those of nature and those of culture, we will see its colors marry affectionately with the notes, words, and meditations of the author, and in this alliance, not to say connivance, explain to us the unmistakable signature of a soul."

"(Referring to the degenerative disease that had affected Battiato) He was always Franco. He always had been, regardless of outward appearances. In fact, perhaps that day he was even more so."