All Quotes

"If THIS book is to be properly understood, it must be read not as a work on metaphysics, still less as a... theological essay, but purely and simply as a scientific treatise."

"This book deals with man solely as a phenomenon; but... with the whole pheneomenon..."

"The degree of concentration of a consciousness varies in inverse ratio to the simplicity of the material compound... Spiritual perfection (or conscious 'centreity') and material synthesis (or complexity) are but two aspects or connected parts of one and the same phenomenon."

"In sum, all the rest of this essay will be nothing but the story of the struggle in the universe between the unified multiple and the unorganized multitude: the full application of great Law of complexity and consciousness: a law that... implies a psychically convergent structure and curvature of the world."

"There is no concept more familiar... than... spiritual energy, yet there is none... more opaque scientifically."

"Nowhere... is the need more urgent of building a bridge between the... the physical and the moral..."

"To connect the two energies, of the body and the soul, in a coherent manner: science has provisionally decided to ignore the question... caught up as we are here in the logic of a system where the within of things has just as much or... more value than their without... we must advance."

"Sometimes we need bread, sometimes wine, sometimes a tonic or a hormone injection, sometimes the stimulation of a colour, sometimes the magic of a sound which goes in at our ears as a vibration and reaches our brains in the form of inspiration. ...[T]here is something through which material and spiritual energy hold together and are complementary. ...[T]here must be a single energy operating in the world. ...[T]he 'soul' must be ...a focal point of transformation ...[F]orces of bodies converge, to become interiorised and sublimated in beauty and truth. ...Yet, ...direct transformation of one of these two energies into the other... has to be abandoned. As... we try to couple them... their mutual independence becomes as clear as their interrelation."

"To the cosmic corpuscles we should find it natural to attribute an individual radius of action as limited as their dimensions. We find, on the contrary, that each of them can only be defined by virtue of its influence on all around it. Whatever space we suppose it to be in, each cosmic element radiates in it and entirely fills it. However narrowly the heart of an atom may be circumscribed, its realm is co-extensive, at least potentially, with that of every other atom. This strange property we will come across again, even in the human molecule."

"[W]e realise... the fact and... reason for the diversity of animal behaviour. From the moment we regard evolution as... psychical transformation, we see... a multitude of forms of instincts each corresponding to a... solution of the problem of life. The 'psychical' make-up of an insect is not and cannot be that of a vertebrate ; nor can... [that] of a squirrel be that of a cat or... elephant: this in virtue of the position[s]... on the tree of life. ...[W]e begin to see ...a gradation formed. If instinct is a variable dimension, the instincts will... create, beneath their complexity, a growing system. They will form as a whole a... fan-like structure in which the higher terms on each nervure are recognised... by a greater range of choice and depending on a better defined centre of coordination and consciousness. ...The 'psychical' make-up of a dog... is... superior to that of a mole or a fish. ...[T]he upholders of the spiritual explanation have no need to be disconcerted when they see... in the higher animals (particularly in the great apes) ways and reactions which strangely recall... 'a reasoning soul'. If the story of life is no more than a movement of consciousness veiled by morphology, it is inevitable that... in the proximity of man, the 'psychical' make-ups seem to reach the borders of intelligence."

"When water is heated to boiling... and one goes on heating it, the first thing that follows—without change of temperature—is a tumultuous expansion of freed and vaporised molecules. Or, taking a series of sections from the base towards the summit of a cone, their area decreases constantly; then suddenly, with another infinitesimal displacement, the surface vanishes leaving us with a point. Thus... we are able to imagine the mechanism involved in the critical threshold of reflection. ...[N]ervous systems followed pari passu the process of increased complication and concentration. Finally, with the primates, an instrument was fashioned so remarkably supple and rich that the step immediately following could not take place without the whole animal psychism being... recast and consolidated on itself. ...When the anthropoid... had been brought 'mentally' to boiling point.... Or... had almost reached the summit of the cone, a final effort took place along the axis. ...What was previously only a centred surface became a centre. By a tiny 'tangential' increase, the 'radial' was turned back on itself and... took an infinite leap forward. Outwardly, almost nothing in the organs had changed. But in depth, a great revolution... consciousness was now leaping and boiling in a space of super-sensory relationships and representations; and simultaneously... was capable of perceiving itself... for the first time."

"Those who adopt the spiritual explanation are right when they defend... a... transcendence of man over the rest of nature. But neither are the materialists wrong when they maintain that man is just one further term in a series of animal forms. Here, as in so many cases, the two antithetical kinds of evidences are resolved in a movement... to the highly natural... 'change of state'. From the cell to the thinking animal, as from the atom to the cell, a single process (a psychical kindling or concentration) goes on without interruption... in the same direction. But by virtue of this permanence in the operation, it is inevitable... that certain leaps... transform the subject of the operation."

"Discontinuity in continuity: that is how... the birth of thought, like that of life, presents... and defines itself."

"A glow ripples outward from the first spark of conscious reflection. The point of ignition grows larger. The fire spreads in ever widening circles till finally the whole planet is covered with incandescence. Only one interpretation, only one name can be found worthy of this grand phenomenon. Much more coherent and just as extensive as any preceding layer, it is really a new layer, the 'thinking layer', which, since its germination at the end of the period, has spread over and above the world of plants and animals. In other words, outside and above the biosphere there is the ."

"Is evolution a theory, a system or a hypothesis? It is much more: it is a general condition to which all theories, all hypotheses, all systems must bow and which they must satisfy henceforward if they are to be thinkable and true. Evolution is a light illuminating all facts, a curve that all lines must follow."

"If there were no internal propensity to unite, even at a prodigiously rudimentary level—indeed in the molecule itself—it would be physically impossible for love to appear higher up, with us, in hominized form. . . . Driven by the forces of love, the fragments of the world seek each other so that the world may come into being."

"Love alone is capable of uniting living beings in such a way as to complete and fulfill them, for it alone takes them and joins them by what is deepest in themselves. All we need is to imagine our ability to love developing until it embraces the totality of men and the earth."

"A universal love is not only psychologically possible; it is the only complete and final way in which we are able to love."

"Actuality, irreversibility. ...Omega ...is discovered ...at the end ...[I]n it the movement culminates. Yet... under this evolutive facet Omega still only reveals half of itself. While being the last term of its series, it is also outside all series. ...If by its very nature it did not escape from time and space which it gathers together, it would not be Omega."

"Autonomy, actuality, irreversibility, and... transcendence are the four attributes of Omega. In this way... we... enclose the energy-complex of our universe. ...Contrary to the appearances still admitted by physics, the Great Stability is not at the bottom in the infra-elementary sphere, but at the top in the ultra-synthetic sphere. ...[E]ntirely by its tangential envelope ...the world goes on dissipating itself in a chance way into matter. By its radial nucleus it finds its shape and... consistency in gravitating against the tide of probability towards a divine focus of mind which draws it onward. Thus something in the cosmos escapes from entropy, and does so more and more."

"However convergent it be, evolution cannot attain to fulfilment on earth except through a point of dissociation. With this we are introduced to a fantastic and inevitable event which now begins to take shape in our perspective, the event which comes nearer with every day that passes: the end of all life on our globe, the death of the planet, the ultimate phase of the phenomenon of man."

"Bullshit, that's how I feel. Total fucking bullshit."

"It's such a sadness that you think you've seen a film on your fucking telephone. Get real."

"The sick reality about our over dependance on language is that trying to live without it is like a blind and deaf man with no arms or legs trying to navigate a dark narrow cave, and the cave is full of tarantulas."

"There is a plot. What would be the point of just a bunch of things? There's a story, but the story can hold abstractions. I believe in story. I believe in characters. But I believe in a story that holds abstractions, and a story that can be told based on ideas that come in an unconventional way.""

"Language is an evil thing, a very evil thing. And a force to be reckoned with."

"Don't make a film if it can't be the film you want to make. It's a joke, and a sick joke, and it'll kill you."

"I love child things because there's so much mystery when you're a child. When you're a child, something as simple as a tree doesn't make sense. You see it in the distance and it looks small, but as you go closer, it seems to grow — you haven't got a handle on the rules when you're a child. We think we understand the rules when we become adults but what we really experienced is a narrowing of the imagination."

"I guess I got whacked hard in the mystery department when I was little. I found the world completely and totally fascinating then — it was like a dream. They say that people who think they had a happy childhood are blocking something out, but I think I really had one. Of course I had the usual fears, like going to school — I knew there was some sort of problem there. But every other person sensed that problem too, so my fears were pretty normal."

"There's always fear of the unknown where there's mystery. It's possible to achieve a state where you realize the truth of life and fear disappears, and a lot of people have reached that state, but next to none of them are on Earth. There's probably a few."

"Dark things have always existed but they used to be in a proper balance with good when life was slower. People lived in towns and small farms where they knew everybody and people didn't move around so much so things were a little more peaceful. There were things that they were afraid of for sure, but now it's accelerated to where the anxiety level of the people is in the stratosphere. TV sped things up and caused people to hear way more bad news. Mass media overloaded people with more than they could handle, and drugs also had a lot to do with it. With drugs people can get so rich and whacked out and they've opened up a whole weird world. These things have created a modern kind of fear in America."

"One change of attitude would change everything. If everyone realized that it could be a beautiful world and said let's not do these things anymore — let's have fun."

"There are so many clues and feelings in the world that it makes a mystery and a mystery means there's a puzzle to be solved. Once you think like that you're hooked on probably finding a meaning, and there' many avenues in life where we're given little indications that the mystery can one day be solved. we get little proofs, — not the big proof — but the little proofs that keep us searching."

"When you do something that works you have a happiness, but I don't know if it's a feeling of power. Power is a frightening thing and that's not what I'm interested in. I want to do certain things and make them right in my mind and that's it."

"Ideas are like fish. If you want to catch little fish, you can stay in the shallow water. But if you want to catch the big fish, you've got to go deeper. Down deep, the fish are more powerful and more pure. They're huge and abstract. And they're very beautiful."

"When I first heard about meditation, I had zero interest in it. I wasn't even curious. It sounded like a waste of time. What got me interested, though, was the phrase "true happiness lies within." At first I thought it sounded kind of mean, because it doesn't tell you where the "within" is, or how to get there. But still it had a ring of truth. And I began to think that maybe meditation was a way to go within."

"When I started meditating, I was filled with anxieties and fears. I felt a sense of depression and anger. I often took out this anger on my first wife. After I had been meditating for about two weeks, she came to me and said, "What's going on?" I was quiet for a moment. But finally I said, "What do you mean?" And she said, "This anger, where did it go?" And I hadn't even realized that it had lifted. I call that depression and anger the Suffocating Rubber Clown Suit of Negativity. It's suffocating, and that rubber stinks. But once you start meditating and diving within, the clown suit starts to dissolve. You finally realize how putrid was the stink when it starts to go. Then, when it dissolves, you have freedom. Anger and depression and sorrow are beautiful things in a story, but they are like poison to the filmmaker or artist. They are like a vise grip on creativity. If you're in that grip, you can hardly get out of bed, much less experience the flow of creativity and ideas. You must have clarity to create. You have to be able to catch ideas."

"I started out just as a regular person, growing up in the Northwest. My father was a research scientist for the Department of Agriculture, studying trees. So I was in the woods a lot. And the woods for a child are magical. I lived in what people call small towns. My world was what would be considered about a city block, maybe two blocks. Everything occurred in that space. All the dreaming, all my friends existed in that small world. But to me it seemed so huge and magical. There was plenty of time available to dream and be with friends. I liked to paint and I liked to draw. And I often thought, wrongly, that when you got to be an adult, you stopped painting and drawing and did something more serious."

"I'm not always good with words. Some people are poets and have a beautiful way of saying things with words. But cinema is its own language. And with it you can say so many things, because you've got time and sequences. You've got dialogue. You've got music. You've got sound effects. You have so many tools. And so you can express a feeling and a thought that can't be conveyed any other way. It's a magical medium. For me, it's so beautiful to think about these pictures and sounds flowing together in time and in sequence, making something that can be done only through cinema. It's not just words or music — it's a whole range of elements coming together and making something that didn't exist before. It's telling stories. It's devising a world, an experience, that people cannot have unless they see that film."

"I like the saying "The world is as you are." And I think films are as you are. That's why, although the frames of a film are always the same — the same number, in the same sequence, with the same sounds — every screening is different. The difference is sometimes subtle but it's there. It depends on the audience. There is a circle that goes from the audience to the film and back. Each person is looking and thinking and feeling and coming up with his or her own sense of things. And it's probably different from what I fell in love with. So you don’t know how it's going to hit people. But if you thought about how it's going to hit people, or if it's going to hurt someone, or if it's going to do this or do that, then you would have to stop making films. You just do these things that you fall in love with, and you never know what's going to happen."

"An idea is a thought. It's a thought that holds more than you think it does when you receive it. But in that first moment there is a spark. In a comic strip, if someone gets an idea, a lightbulb goes on. It happens in an instant, just as in life. It would be great if the entire film came all at once. But it comes, for me, in fragments. That first fragment is like the Rosetta stone. It's the piece of the puzzle that indicates the rest. It's a hopeful puzzle piece. In Blue Velvet, it was red lips, green lawns, and the song — Bobby Vinton's version of "Blue Velvet". The next thing was an ear lying in a field. And that was it. You fall in love with the first idea, that little tiny piece. And once you've got it, the rest will come in time."

"Eraserhead is my most spiritual movie. No one understands when I say that, but it is. Eraserhead was growing in a certain way, and I didn't know what it meant. I was looking for a key to unlock what these sequences were saying. Of course, I understood some of it; but I didn't know the thing that just pulled it all together. And it was a struggle. So I got out my Bible and I started reading. And one day, I read a sentence. And I closed the Bible, because that was it. And then I saw the thing as a whole. And it fulfilled this vision for me, 100 percent. I don't think I'll ever say what that sentence was."

"On Blue Velvet, I worked with a casting director, Johanna Ray. And we had all brought up Dennis Hopper. But everybody said, 'No, no; you can't work with Dennis. He's really in bad shape, and you'll have nothing but trouble.' So we continued looking for people. But one day, Dennis' agent called and said that Dennis was clean and sober and had already done another picture, and I could talk to that director to verify it. Then Dennis called and said, 'I have to play Frank, because I am Frank.' That thrilled me, and scared me."

"People have asked me why — if meditation is so great and gives you so much bliss — are my films so dark, and there's so much violence? There are many, many dark things flowing around in this world right now, and most films reflect the world in which we live. They're stories. Stories are always going to have conflict. They're going to have highs and lows, and good and bad. I fall in love with certain ideas. And I am where I am. Now, if I told you I was enlightened, and this is enlightened filmmaking, that would be another story. But I'm just a guy from Missoula, Montana, doing my thing, going down the road like everybody else. We all reflect the world we live in. Even if you make a period film, it will reflect your times. You can see the way period films differ, depending on when they were made. It's a sensibility — how they talk, certain themes — and those things change as the world changes. And so, even though I'm from Missoula, Montana, which is not the surrealistic capital of the world, you could be anywhere and see a kind of strangeness in how the world is these days, or have a certain way of looking at things."

"Stay true to yourself. Let your voice ring out, and don't let anybody fiddle with it. Never turn down a good idea, but never take a bad idea. And meditate. It's very important to experience that Self, that pure consciousness. It's really helped me. I think it would help any filmmaker. So start diving within, enlivening that bliss consciousness. Grow in happiness and intuition. Experience the joy of doing. And you'll glow in this peaceful way. Your friends will be very, very happy with you. Everyone will want to sit next to you. And people will give you money!"

"It's great when somebody breaks rules and says, "You know what? There doesn't have to be an answer to this. You don't have to have a fourth wall, you don't have to have any boundaries.""

"Jimmy Stewart from Mars."

"It was curious, so much was in his mind, but he didn't talk about what he was doing, so it was difficult sometimes to follow. He's quite a macabre person. He said to me one day: "You should take the kids to the London Hospital and look at all the freaks in the bottles, the two-headed babies." The actual Elephant Man was in there. He said: "You'll really enjoy it. Take some sandwiches and make a day of it.""

"One day he was showing me a painting he made. It was thick with oil, and right as he showed it to me a moth flew into the painting and got stuck — it flew around and its wings created a little circle in his painting, sort of like the death of a moth ... I thought David would pull the moth out and repaint it, but he fell in love with it the way it was."

"Luckily, David is able to vent everything through his art ... because otherwise somebody might be dead."