All Quotes

"True revolution in music took place, as far as I can see it, took place only a few times, three times in this century. One was the revolution that took place aided and abetted if not instigated by Louis Armstrong. Louis Armstrong did something with the trumpet that had never been done. Things that have become so casual, so common to our ears now, Louis Armstrong introduced."

"When Louis Armstrong, according to a few of his biographies, came to Chicago he was wearing a suit, the pants of which were about three inches too short, his white socks showed, he had these brogans on and he wore a derby hat. He got up on the stage and all the musicians laughed until he started to play. When he finished playing, the next day all the musicians went out and bought some pants three inches too short, some white socks and some brogan shoes and a derby hat, you understand. Louis Armstrong was on J-and never got off his J-never, never stopped. I mean for all intents and purposes, died with his trumpet in his hand. So did Duke Ellington, all those people who inspire one, who inspire me. Duke was still going on the road right up till the last. Louis Armstrong still on the road till the very last. I appreciate that, I respect it and I am grateful for it. I am grateful, in the name of my grandson I am grateful."

"When you're sick [due to drug withdrawal], music is a great help. Once in Texas, I kicked a [heroin] habit on weed, a pint of paregoric, and a few Louis Armstrong records."

"I once had a drink with Billie Holiday, and I smoked a joint with Louis Armstrong. Those are my real claims to fame."

"Everything is absurd."

"Humanitarianism is rude."

"I am profoundly skeptical about our abilities to predict the future in general, and human behavior in particular."

"Listening to what people were saying wasn't even important. But it was important to look as if you were listening to what people were saying. Actually, listening to what people are saying, to me, interferes with looking as if you were listening to what people are saying."

"Correct me if I'm wrong here, but truth is something that arises out of the relationship between language and the world. If I look at a picture alone, it tells me nothing. In the previous incarnation of this lecture, I was going to put a picture of the Titanic and the Lusitania up on the screen. They look very, very similar - four smokestacks. They look almost identical. You look at either picture, true or false? Neither. Put a caption at the bottom of one of them, that changes everything. If you put in the caption, "This is the Lusitania," and the picture is a picture of the Lusitania, then the caption is true. However, the picture itself is neither true nor false. It's just a picture."

"You know, I have this version of the expulsion from the Garden of Eden. God, in expelling Adam and Eve, kind of felt bad. He had gotten very angry, right? You know, you get angry and then you feel, "Well, maybe I overreacted." So, God was in that kind of mood when he expelled Adam and Eve from the garden. But his hands were tied. He had to go through with it; he had made the decision. God doesn't want to constantly second-guess himself. But he thought, "I know. I'll give them self-deception. Things are going to be truly horrendous out there, but they'll never notice.""

"The pursuit of truth, properly considered, shouldn't stop short of insanity."

"The proper route to an understanding of the world is an examination of our errors about it."

"I like the idea of making films about ostensibly absolutely nothing. I like the irrelevant, the tangential, the sidebar excursion to nowhere that suddenly becomes revelatory. That's what all my movies are about. That and the idea that we're in possession of certainty, truth, infallible knowledge, when actually we're just a bunch of apes running around. My films are about people who think they're connected to something, although they're really not."

"I believe that we face incredible obstacles in our attempts to see the world. Everything in our nature tries to deny the world around us; to refabricate it in our own image; to reinvent it for our own benefit. And so, it becomes something of a challenge, a task, to recover (or at least attempt to recover) the real world despite all the impediments to that end."

"Santayana said, "Those who cannot remember the past are condemned to repeat it." Really? Human nature being what it is, isn't it hopeless to expect that we can do better regardless of whether we remember anything or not? And what if what we remember leads us to false analogies and misunderstandings? I prefer: "Those who cannot remember the past are condemned to repeat it without a sense of ironic futility." Or how about this: "Those who cannot condemn the past repeat it in order to remember it.""

"I believe that historical analogies are always wrong. This a long discussion, but, to me, the most dangerous thing about Chamberlain's capitulation to Hitler at Munich is not the fact that Munich happened and it led to further Nazi aggression and so on and so forth, but that the example of Munich has been used to support thousands upon thousands of bad policies and inappropriate decisions. LeMay called JFK's recommendation for a “quarantine” (that is, a blockade) in the Cuban Missile Crisis “worse than Munich”. Would nuclear war have been a better alternative? But nuclear war was averted by Kennedy's policies. And thirty years later the Soviet Union collapsed without the need for nuclear war. Was LeMay right? I don't think so. But again, the example of Munich was invoked to justify the invasion of Iraq. Appeasing Saddam, appeasing Hitler. The use of the Munich analogy does not clarify, it obscures. History is like the weather. Themes do repeat themselves, but never in the same way. And analogies became rhetorical flourishes and sad ex post facto justifications rather than explanations. In the end, they explain nothing."

"I like to think of myself as the ultimate anti-postmodernist post-modernist. Notwithstanding the unusual narrative or visual devices that appear in many of the films, what have kept me going for the three years of investigating [for The Thin Blue Line, was the belief that there answers to questions such as, Adams did it, didn't he? Or Harris did it, didn't he? That it's not just up for grabs. Today, I believe there's a kind of frisson of ambiguity. People think that ambiguity is somehow wonderful in its own right, an excuse for failing to investigate. What can I say? I think this view is wrong. At best, misguided. Maybe even reprehensible."

"I gave someone a perverse argument not so long ago about why advertising is better than movies. You want to hear it? Movies operate from a really disingenuous premise, that people are heroes. I know a lot of people and have had an opportunity over the years to observe them. Are they heroes...? Let's put it this way. Advertising tries something simpler and more believable: Products as heroes. I guess the idea is: When all else fails, put your faith in conditioner."

"There's the Mike Wallace approach, or you can call it the Michael Moore approach, which is the adversarial approach. In the end, that is not in the service of finding out anything. It's in service of dramatizing a received view: Namely, "This guy is an asshole, and now I will illustrate how this guy is an asshole by showing his inability to answer the questions I put to him." It's not what I'm about. It's not that one approach is good and the other is bad. They just have different valences. I like confrontation as much as the next guy. I'll give you the best example I can think of for why I like my method. [During] my interview with Emily Miller, one of the wacko eyewitnesses in The Thin Blue Line, she volunteered that she had failed to pick out Randall Adams in a police lineup. It wasn't me saying to her, "Emily Miller, how come you failed to pick out Randall Adams in a police lineup?" Why? Because I didn't know she failed to do it, because part of the trial record said she had successfully picked him out. When I heard this, not in response to some adversarial question, just her telling me her story, I asked her, "How did you know you failed to pick out Randall Adams?" She said, "I know because the policeman sitting next to me told me I had picked out the wrong person and pointed out the right person so I wouldn't make that mistake again.""

"You can think of my films as cautionary tales, but you might even think of them as despairing tales, because at least in a cautionary tale, you have this idea that by listening to the story you can assure a better outcome. Whereas I'm not at all convinced that's the case. In fact, if anything, I'm convinced that it's the opposite."

"I don't really understand how Errol got drawn to these gothic themes that interest him - maybe that he lost his father."

"Was it worthwhile? Everything is worthwhile if the soul is not small."

"Oh salty sea, how much of your salt are tears of Portugal!"

"It was just a moment, and I saw myself. Then I no longer could say what I was."

"The slope takes you to the windmill, but effort takes you nowhere."

"Destiny gave me only two things: a few accounting books and the gift of dreaming."

"Knowing not to have illusions is absolutely necessary in order to have dreams."

"Why is art beautiful? Because it's useless. Why is life ugly? Because it's all ends and purposes and intentions."

"Civilization consists in giving something an unfitting name, then dream about the result. And indeed the false name and the real dream create a new reality. The object really becomes another, because we turned it into another one. We manufacture realities."

"The consciousness of life's unconsciousness is intelligence's oldest tax."

"Descobri que a leitura é uma forma servil de sonhar. Se tenho de sonhar, porque não sonhar os meus próprios sonhos?"

"A essência do universo é a contradição."

"Repudiei sempre que me compreendessem. Ser compreendido é prostituir-se. Prefiro ser tomado a sério como o que não sou, ignorado humanamente, com decência e naturalidade."

"A sort of anteneurosis of what I will be when I will not longer be freezes my body and soul. A kind of remembrance of my future death makes me shudder from the inside."

"À dolorosa luz das grandes lâmpadas eléctricas da fábrica Tenho febre e escrevo. Escrevo rangendo os dentes, fera para a beleza disto, Para a beleza disto totalmente desconhecida dos antigos.'Ó rodas, ó engrenagens, r-r-r-r-r-r-r eterno! Forte espasmo retido dos maquinismos em fúria! Em fúria fora e dentro de mim, Por todos os meus nervos dissecados fora, Por todas as papilas fora de tudo com que eu sinto! Tenho os lábios secos, ó grandes ruídos modernos, De vos ouvir demasiadamente de perto, E arde-me a cabeça de vos querer cantar com um excesso De expressão de todas as minhas sensações, Com um excesso contemporâneo de vós, ó máquinas!"

"Todo o homem que merece ser célebre sabe que não vale a pena sê-lo."

"Se, depois de eu morrer, quiserem escrever a minha biografia, Não há nada mais simples. Tem só duas datas—a da minha nascença e a da minha morte. Entre uma e outra coisa todos os dias são meus."

"Ah, poder ser tu, sendo eu! Ter a tua alegre inconsciência, E a consciência disso!"

"Não tenho ambições nem desejos Ser poeta não é uma ambição minha É a minha maneira de estar sozinho."

"Sejamos simples e calmos, Como os regatos e as árvores, E Deus amar-nos-á fazendo de nós Belos como as árvores e os regatos, E dar-nos-á verdor na sua primavera, E um rio aonde ir ter quando acabemos... E não nos dará mais nada, porque dar-nos mais seria tirar-nos mais."

"Sou um guardador de rebanhos. O rebanho é os meus pensamentos E os meus pensamentos são todos sensações. Penso com os olhos e com os ouvidos E com as mãos e os pés E com o nariz e a boca. Pensar uma flor é vê-la e cheirá-la E comer um fruto é saber-lhe o sentido.'Por isso quando num dia de calor Me sinto triste de gozá-lo tanto, E me deito ao comprido na erva, E fecho os olhos quentes, Sinto todo o meu corpo deitado na realidade, Sei a verdade e sou feliz."

"O único sentido oculto das coisas É elas não terem sentido oculto nenhum, É mais estranho do que todas as estranhezas E do que os sonhos de todos os poetas E os pensamentos de todos os filósofos, Que as coisas sejam realmente o que parecem ser E não haja nada que compreender. Sim, eis o que os meus sentidos aprenderam sozinhos:— As coisas não têm significação: têm existência. As coisas são o único sentido oculto das coisas."

"Fingir é conhecer-se."

"Não sou nada. Nunca serei nada. Não posso querer ser nada. À parte isso, tenho em mim todos os sonhos do mundo."

"(Come chocolates, pequena; Come chocolates! Olha que não há mais metafísica no mundo senão chocolates. Olha que as religiões todas não ensinam mais que a confeitaria. Come, pequena suja, come! Pudesse eu comer chocolates com a mesma verdade com que comes! Mas eu penso e, ao tirar o papel de prata, que é de folhas de estanho, Deito tudo para o chão, como tenho deitado a vida.)"

"A metafísica é uma consequência de estar mal disposto."

"Ah a frescura na face de não cumprir um dever! Faltar é positivamente estar no campo! Que refúgio o não se poder ter confiança em nós! Respiro melhor agora que passaram as horas dos encontros, Faltei a todos, com uma deliberação do desleixo, Fiquei esperando a vontade de ir para lá, que'eu saberia que não vinha. Sou livre, contra a sociedade organizada e vestida. Estou nu, e mergulho na água da minha imaginação. E tarde para eu estar em qualquer dos dois pontos onde estaria à mesma hora, Deliberadamente à mesma hora... Está bem, ficarei aqui sonhando versos e sorrindo em itálico. É tão engraçada esta parte assistente da vida! Até não consigo acender o cigarro seguinte... Se é um gesto, Fique com os outros, que me esperam, no desencontro que é a vida."

"A morte é a curva da estrada, Morrer é só não ser visto. Se escuto, eu te oiço a passada Existir como eu existo.'A terra é feita de céu. A mentira não tem ninho. Nunca ninguém se perdeu. Tudo é verdade e caminho."

"O poeta é um fingidor. Finge tão completamente Que chega a fingir que é dor A dor que deveras sente."

"Para ser grande, sê inteiro: nada Teu exagera ou exclui. Sê todo em cada coisa. Põe quanto és No mínimo que fazes. Assim em cada lago a lua toda Brilha, porque alta vive."