All Quotes

"After studying the optical effects of the , in 1960 began to make the extremely precise pictures for which she is known today. Her participation in , a 1965 show at the , earned Riley an international reputation. Although went out of fashion very quickly, Riley's work continued to fascinate viewers because of its impeccable technique and sophisticated compositions."

"Why, yes, of course I wrote all the Arab of Mesopotamia. I've loved the reviews which speak of the practical men who were the anonymous authors, etc. It's fun being practical men, isn't it."

"... this is the first science fiction film I know of that's based on character rather than hardware. I read the story on a plane from New York to LA and, at a critical point, I had to throw the script down. I was in tears... it touched me that much. It's such a wonderful story. Here's two guys who are enemies. One happens to be an alien. They could easily be an American and a Russian."

"The way I look at it, I am the alien! I'm the one devoid of human values. Drac has them. Not me. Not Davidge, the spaceman. For me, the film is the discovering of the human side of myself. You know – How to be human!"

"Actually, it was quite bad. It is a bad film. Only good thing about it was meeting my gal, Marie, we've been together two years now. And Lou, of course. Lou calls it: Sharks Don't Like Soul Food! Other than that, it was a learning experience for me. At the time, I felt I should be in a film which had a good chance of commercial success. A wrong reason to make any film."

"It's the biggest, most satisfying role I've ever had. Davidge is a human being who gets to know a lot of sides to himself. Wolfgang thought he was a bit too Han Solo, at first. Now, Davidge really evolves through everything in the story: humour, anguish, tears, hate, pride, love, pain, action. There's no end to the action! I'm trying to do most of it, myself. So, it's also, physically, a very gruelling experience."

"Ladyhawke goes back to when I was living in Paris for a couple of years and making a living translating. I read a lot of medieval literature and was very struck by poet Francois Villon's story of how he had been mistreated by a bishop. That started becoming the story of a little theif who had to go on a quest to redeem himself but was afraid to go on it alone. He needed someone's help, and there would be a price to pay for this. In my mind's eye, I saw a knight with a hawk on his arm, but I didn't know what the knight wanted or why the hawk was there. I first had this idea in 1970, but didn't actually write the screenplay until 1976, and the movie wasn't made until 1983. I wrote Ladyhawke on speculation, without being paid for it. I didn't have an agent, and couldn't get the studios to pay attention to it. When agents did read it, I couldn't find anybody at first who wanted to represent me or the screenplay. When I did finally find an agent, he didn't like Ladyhawke at all and wanted to send it to the Japanese because they did Godzilla movies."

"I was happy with parts of the movie, although I thought that Rutger Hauer was a little too civilized for my knight. I had imagined someone more like Jurgen Prochnow."

"Before we wrote the screenplay, we tried to get the studios interested in the story. It was turned down everywhere. But again, after the screenplay was done, there was quite a bit of studio interest. We finally went with 20th Century Fox. Then they started having trouble finding a director. Either the ones they wanted weren't available, or wanted to go in such a different direction with the story that they were unacceptable. Finally, Richard Loncrane was hired. The first draft of my screenplay took ten months, which is a very long time. When I started working with Richard, I would fly to London or he would fly here. He had a wonderful, very exciting vision of the film, but at the same time, it might have exceeded what was possible. What you see on the screen today is maybe 75 script pages. The script Loncrane and I started shooting with in Iceland was 140 pages long."

"The problem ... was that the original novella was not structured for film. It has big gaps in time and essentially starts another story two-thirds of the way through. This is when Davidge takes the young Drac back to Dracon and has to deal with their prejudice against him. We just didn't have the money for that. I had to create a new ending where Zammis is kidnapped by gypsy miners who use Dracs for slave labor. Davidge has to rescue him, and this leads to a new understanding between the two races. There was a good line in the film that got cut out, where Davidge's friends come to help him and run into a party of armed Dracs. The Drac who knows about Davidge and Zammis is about to shoot the friends when one holds his hands up and says "Hold it! I don't understand it completely either, but we're on the same side now!" I also wanted to have a scene at the end where Davidge is shown on Dracon at Zammis' acceptance ceremony. To be officially accepted into Dracon society and become head of your family line, you have to stand before the Council of Elders with your father. He introduces you by reciting your line's entire heritage. That's from the book and I wanted to make that a big scene, but it wound up as a matte painting because that's all there was money for. That's as close to the Drac culture as we could afford to come."

"I establish a firm peace in all my kingdom, and I order that this peace shall henceforth be kept."

"The space burial sequence now two-thirds of the way into the film was actually menat to be the first scene of the movie. Davidge is found after three years on Fyrine IV, but doesn't initially answer what he did there or how he survived. The story is initially told through flashback because I wanted to set up suspense by slowly uncovering what had happened to him. After the first public testing, Wolfgang decided that it wasn't right. I can see some of it, but I still think that's the best structure for the story. Plus I think they cut more out of the film than they should have. There's some stuff showing his relationship with his three friends aboard the battle station that I wish they would have kept in. I think it created a feeling in the first of the film that carried over to the ending. But I do think that the film has an epic grandeur and enormous emotional intensity to the two characters. That's what I wanted to do most and I think that got to the screen."

"Our road is the Road of Yesterday and the Road of Today, for Yesterday and Today are still the same."

"Surely the world we live in is but the world that lives in us?"

"Your true gentlewoman does not sit down and weep and say "I've never done such things"—she simply "does" and no more about it."

"There are a few fortunate races that have been endowed with cheerfulness as their main characteristic, the Australian Aborigine and the Irish being among these."

"No man or woman, who tries to pursue an ideal in his or her own way, is without enemies."

"The Australian native can withstand all the reverses of nature, fiendish droughts and sweeping floods, horrors of thirst and enforced starvation—but he cannot withstand civilization."

"By this time I was a confirmed wanderer, a nomad even as the aborigines. So close had I been in contact with them, that it was now impossible for me to relinquish the work. I realized that they were passing from us. I must make their passing easier. Moreover, all that I knew was little in comparison with all there was yet to learn. I made the decision to dedicate the rest of my life to this fascinating study."

"A glorious thing it is to live in a tent in the infinite—to waken in the grey of dawn, a good hour before the sun outlines the low ridges of the horizon, and to come out into the bright cool air, and scent the wind blowing across the mulga plains. My first thought would be to probe the ashes of my open fireplace, where hung my primitive cooking-vessels, in the hope that some embers had remained alight. Before I retired at night, I invariably made a good fire and covered the glowing coals with the soft ash of the jilyeli, having watched my compatriots so cover their turf fires in Ireland. I would next readjust the stones of the hob to leeward of the morning wind, and set the old Australian billy to boil, while I tidied my tent, and transformed it from bedroom to breakfast-room. As the sun came up, it changed that plain white room into the most exquisitely-frescoed pergola, with a patterning far surpassing the best of Grinling Gibbon’s handiwork. In a constant play of leafy light and shadow, I would eat my tea and toast in absolute content, while outside the blue smoke of the fire changed to grey in the bright sunlight. The mornings were spent in wandering from camp to camp, attending to the bodily needs of the scattered flock. I knew every bush, every pool, every granite boulder, by its age-old prehistoric name, with its legends and dream-time secrets, and its gradual inevitable change. There was no loneliness."

"Every one of the natives whom I encountered on the east-west line had partaken of human meat, with the exception of Nyerdain, who told me it made him sick. They freely admitted their sharing of these repasts and enumerated those killed and eaten by naming the waters, and drawing a line with the big toe on the sand as they told over in gruesome memory the names they dared not mention. My first words to them were always “No more man-meat.” From the weekly supply train, I would procure part of a bullock or sheep and show them the game food areas, mallee-hen’s eggs, rabbits and so on, that must be their meats now, with as many dampers as I could provide, and a drink of sweetened tea. One morning very early, the news came that Nyan-ngauera had left the camp, taking a fire-stick and accompanied by her little girl. No one would follow her or help to track her. For twelve miles I followed the track unsuccessfully, but Nyan-ngauera doubled many times and gave birth to a child a mile west of my camp, where she killed and ate the baby, sharing the food with the little daughter. Later, with the help of her sons and grandsons, the spot was found, nothing to be seen there save the ashes of a fire. "The bones are under the fire", the boys told me, and digging with the digging-stick we came upon the broken skull, and one or two charred bones, which I later sent to the Adelaide Museum."

"I invariably rose at sunrise, when the days are at their most glorious, and the whole world is full of beauty and music and dreaming, waking from its slumbers under the mists. I made my toilet to a chorus of impatient twittering. It was a fastidious toilet, for throughout my life I have adhered to the simple but exact dictates of fashion as I left it, when Victoria was queen—a neat white blouse, stiff collar and ribbon tie, a dark skirt and coat, stout and serviceable, trim shoes and neat black stockings, a sailor hat and a fly-veil, and, for my excursions to the camps, always a dust-coat and a sunshade. Not until I was in meticulous order would I emerge from my tent, dressed for the day. My first greeting was for the birds."

"Know all persons, that we, three brothers, Jagajaga, Jagajaga, Jagajaga, being the principal chiefs, and also Cooloolock, Bungarie, Yanyan, Moowhip, Mommarmalar, being the chiefs of a certain native tribe called Dutigallar, situate at and near Port Philip, called by us, the above-mentioned chiefs, Iransnoo and Geelong, being possessed of the tract of land hereinafter mentioned, for and in consideration of 20 pair blankets, 30 knives, 12 tomahawks, 10 looking-glasses, 12 pairs scissors, 50 handkerchiefs, 12 red shirts, four flannel jackets, four suits of clothes, and 50 lbs. of flour, delivered to us by John Batman, residing in Van Diemen's Land, esquire, but at present sojourning with us and our tribe, do, for ourselves, our heirs and successors, give, grant, enfeoff and confirm unto the said John Batman, his heirs and assigns, all that tract of country situate and being in the bay of Port Philip, known by the name of Indented Head, but called by us Geelong, extending across from Geelong harbour, about due south, for 10 miles, more or less, to the head of Port Philip, taking in the whole neck or tract of land, and containing about 100,000 acres, as the same hath been before the execution of these presents delineated and marked out by us, according to the custom of our tribe, by certain marks made upon the trees growing along the boundaries of the said tract of land; to hold the said tract of land, with all advantages belonging thereto, unto and to the use of the said John Batman, his heirs and assigns for ever, to the intent that the said John Batman, his heirs and assigns, may occupy and possess the said tract of land, and place thereon sheep and cattle, yielding and delivering to us and our heirs or successors the yearly rent or tribute of 50 pair of blankets, 50 knives, 50 tomahawks, 50 pair scissors, 50 looking-glasses, 20 suits of slops or clothing, and two tons of flour. In witness whereof, we, Jagajaga, Jagajaga, Jagajaga, the three principal chiefs, and also Cooloolock, Bungarie, Yanyan, Moowhip, and Mommarmalar, the chiefs of the said tribe, have hereunto affixed our seals to these presents, and have signed the same."

"The boat went up the large river I have spoken of, which comes from the east, and I am glad to state about six miles up found the river all good water and very deep. This will be the place for a village. The natives on shore."

"I am the greatest landowner in the world."

"He was a youth of considerable intelligence and vigour, with a merry eye, a handsome face, and a flattering tongue to please the other sex."

"…religion frees people from the worship of secular values and authoritarian state power. I know this from experience. I lived half my life under a communist dictatorship in . My own uncle was killed by the secret police. The regime sought to crush both historic and new religions through many forms of coercion. But it [had] ultimately collapsed, peacefully, in 1989. In Slovakia, the main force behind the peaceful resistance and the fight for freedom was the Christian community—especially the Catholic Church."

"Except for the extermination of the Tasmanians, modern history recognizes no case in which the virtually complete supplanting of the indigenous population of a country by an alien stock has been achieved in as little as two generations. Yet this, in fact, is what has been attempted in Palestine since the beginning of the Twentieth century. Herein lies the nub of the Middle East – at once its greatest tragedy and its most perplexing but inescapable problem."

"...For many years the only woman in her department, she along with others established the Organization of Women Faculty at Northwestern University in the late 1960s. In the late 1970s their study of faculty salaries revealed significant gender disparities that embarrassed the administration."

"...One can see traces of arguments that she developed in her later work critiquing the orientalist notion of an Islamic city, or the urban apartheid of Rabat, when she carefully explains the ways in which foreign elites separated government and social decision-making from the indigenous population for centuries."

"By late in the 21st century the nations of the Earth were finally at peace, working together to explore and colonise the distant reaches of space. Unfortunately, we weren't alone out there. A race of nonhuman aliens called the Dracs were claiming squatters' rights to some of the richest star systems in the galaxy. Well, they weren't gonna get it without a fight. Space was the new battleground. For many of us, Earth became a precious memory light years away. Our only home was a fortress in space. As in any war, there were long periods with nothing to do but wait. And then..."

"The problem ... was that the original novella was not structured for film. It has big gaps in time and essentially starts another story two-thirds of the way through. This is when Davidge takes the young Drac back to Dracon and has to deal with their prejudice against him. We just didn't have the money for that. I had to create a new ending where Zammis is kidnapped by gypsy miners who use Dracs for slave labor. Davidge has to rescue him, and this leads to a new understanding between the two races. There was a good line in the film that got cut out, where Davidge's friends come to help him and run into a party of armed Dracs. The Drac who knows about Davidge and Zammis is about to shoot the friends when one holds his hands up and says "Hold it! I don't understand it completely either, but we're on the same side now!" I also wanted to have a scene at the end where Davidge is shown on Dracon at Zammis' acceptance ceremony. To be officially accepted into Dracon society and become head of your family line, you have to stand before the Council of Elders with your father. He introduces you by reciting your line's entire heritage. That's from the book and I wanted to make that a big scene, but it wound up as a matte painting because that's all there was money for. That's as close to the Drac culture as we could afford to come."

"Dennis Quaid - Willis "Will" Davidge"

"We have a mandate from the people to be bold, to think big, to push the envelope, and above all else, to win for Washington, DC. Now is the time to be bold and to set a course to win the tough fights ahead."

"When people ask me what I want to be remembered for, it comes down to this: a relentless commitment to a fair shot for every single DC resident. Period."

"The legal frameworks are important. The moment we have them and they are being implemented then we know it sets an example for every other perpetrator out there. It sends a message that it’s prohibited and it’s a crime"

"I strongly believe that we are in a position as Civil Society Organizations to make a breakthrough with support from the government"

"I restore to you the law of King Edward together with such emendations to it as my father made with the counsel of his barons."

"I always tell the people close to me not to tell me about the things said/written about me. I tell them not to even defend me. They should allow the people who want to talk to continue talking."

"Everybody has a reason behind their action and I do music because I am good at it."

"As the Constitution of the United States embodies a federal union of political sovereignties whose separate existence is older than that of the Union itself, the simplest principle of analysis indicates the fact, that, in order fully to grasp the nature of the composite whole, it is first necessary to comprehend the nature of the units out of whose aggregation it arose. Any exhaustive investigation into the structure of our federal system must necessarily begin with the historical origin of the states that compose it."

"Since the very beginning of the history of the State, the Catholic Church has been an important factor in the upbuilding of the commonwealth and the welfare and education of the people. The difficulties encountered were not easy to overcome in the midst of an unsettled, careless, and often lawless community."

"... I took the ashes out to the , leaving a little trail of cinders from a broken corner of the box. The trouble about housework is that whatever you do seems to lead to another job to do or a mess to clear up."

"With the suit, Christine wore a grey felt beret which had been sold to her cheaply by Mrs Arnold in Millinery, because it had a mark on the back and no customer would buy it. Women were absurdly fussy when they had money to spend. When they were walking along they were just ordinary women, quite meek and obeying the policeman at the crossing; but as soon as Goldwyn's commissionaire, who bought his medals at the Surplus Supply stores in the , had pushed open the swing doors for them, they became customers, and that made them arrogant. Christine had easily removed the mark on the hat with some lighter fluid. Any woman could have done the same; but to have noticed the mark with a shrewd mouth, to have refused to buy the polluted hat made them feel recherché."

"The road from Boston to Cape Cod is long and straight and ruthless. Two black slashes cutting through the sandy country of pine and scrub oak which never grow to any size before a motorist throws out a cigarette on to the dry grass and levels everything neatly down again. In winter, the cars carry Boston businessmen in hats worn straight and true, and women with plastic statues of the Sacred Heart suctioned to the dashboard. In summer, the cars are full of families, and trail boats and little houses behind them. When the road was made, for the locust families to redouble their assault on Cape Cod, hills were leveled, hollows filled, the landscape brought to order. The bare scrub land is empty since everyone has gone top-heavily to the coast, like passengers crowding to the ship's rail."

"In the Refusal Race, you had to trot up to a jump, stop the horse and sail over the jump by yourself on to Anna's spare-room mattress."

"If Monica Dickens means nothing more to you than horsey books and no-nonsense memoirs of nursing and service, then this eloquent novel about the genteel poverty of a widow shunted between her three egotistical daughters is a fine corrective."

"We are in healthcare and operate as an NGO. We serve the needs of the community in Zimbabwe and work through home visits, hospitals, community clinics, mobile clinics and also walk-ins calling into our premises. We have provided support and training over the years to professional from all over Africa and as far afield as Canada, the US and the UK."

"The organization was started by Maureen Butterfield, whose daughter was dying of cancer. She recognized that the support systems she needed were not available in here, so she founded the organisation as Island Hospice. Last year we changed the name to Island Hospice & Healthcare to reflect the expansion of our services and the dynamism of our teams."

"Zimbabwe is poised to thrive, if we could only get out of the political quagmire we find ourselves in. Rich in natural resources, with an innovative educated and hardworking workforce, all we need here is an enabling environment, and the economy will soar"