First Quote Added
April 10, 2026
Latest Quote Added
"According to Martin, opposition figures mobbed them and gave instructions to film what the government does but not what is done by the opposition. They pressured Martin and Prysner to film what is done by the government and in return the opposition would protect them..."
"Prysner suggested it [shortages of essentials] is clear it is the result of a targeted campaign because specific things are missing from shelves... The Venezuelan opposition would like to plunge the country further into chaos, win power, and then allow financial corporations to take over."
"Establishment Democrats are engaged in a concerted effort to smear and undermine journalism that examines any of their preferred 2020 presidential candidates. The effort aims to enforce conformity in the same manner that Democratic Party leaders coerced supporters of Senator Bernie Sanders into lining up behind Democratic presidential nominee Hillary Clinton in 2016. The most egregious example is the targeting of award-winning investigative journalist David Sirota, who produced a comprehensive report on former Democratic Representative Beto O’Rourke’s congressional voting record. Four articles were published on January 3 by liberal pundits... specifically singled out Sirota’s journalism, despite the fact that the second largest newspaper in Texas, the Houston Chronicle, published an editorial recognizing he had raised valid questions about the state’s oil economy."
"Most progressives are not as outspoken against U.S. military interventions or what she (Tulsi Gabbard) refers to as “regime change wars.” She witnessed the impact of regime change on the people of Iraq, as well as U.S. troops, and that inspired her to talk more about the human cost of war and challenge the military industrial-complex."
"Gabbard opposes what she calls a “genocidal war” in Yemen, and she is one of the few representatives, who has worked to pass a war powers resolution in the House to end U.S. military involvement since Congress never authorized the war."
"Gabbard has persistently called attention to the war in Syria. She traveled to Aleppo and Damascus in January 2017 to see some of the devastation Syrians have endured since 2011. Syrian President Bashar al-Assad invited her to a meeting, and she accepted. “Originally, I had no intention of meeting with Assad, but when given the opportunity, I felt it was important to take it. I think we should be ready to meet with anyone if there’s a chance it can help bring about an end to this war, which is causing the Syrian people so much suffering,” Gabbard declared. Supporters of the Syrian war—the same people who do not want President Donald Trump to withdraw U.S. troops—seized upon Gabbard’s meeting with Assad to discredit her, and it has fueled the backlash among Western media pundits to her decision to run for president. Yet, in spite of a smear campaign encouraged by the political establishment, Gabbard has not backed down from protesting U.S. support for terrorists in Syria."
"Representative Tulsi Gabbard has made reforming United States foreign policy, particularly ending what she calls “regime change wars” and the “new Cold War and nuclear arms race,” central to her 2020 presidential campaign. She is virtually the only presidential candidate warning of the specter of nuclear war. At a CNN town hall at South By Southwest on March 10, Gabbard contended, “We are in a situation today where we, here in the United States and the world, are at a greater risk of nuclear catastrophe than ever before in history.”"
"Gabbard’s rhetoric infuriates Rogin, Keilar, and Bash because it strays from their script for what is acceptable debate on U.S. foreign policy. Their questions, and Rogin’s statements, are designed to shame her for her disloyalty to the foreign policy establishment. However, the reality is while these pundits engage in theoretical discussion on television—and use real Syrian people as props to attack dissenting politicians— Gabbard’s reservations toward war are based on actual experience and a recognition of the many times in which the U.S. meddled in countries only to face serious blowback later."
"Yet, the establishment news media is largely uninterested in listening to Gabbard attempt to persuade voters that the U.S. should quit waging wars to overthrow governments."
"Because Launchpad appeared in 'DuckTales' and we used Roboduck as the Superman character, the hero who gets all the glory as opposed to Darkwing, fans try to connect the two realities, They are two different universes in my book. We work in the alternate Duckiverse."
"This is Jim – he said, "Would you direct Dark Crystal with me?" and I said, "Why? I don't know how to direct. You could do it yourself. Why would you want me to direct with you?" He said, "Because it would be better." And that's all that mattered. He didn't care about the credit. He knew that he had some weaknesses and he felt that I had some strengths, and so we worked together that way."
"What I don't like is describing Jim as that he was this wonderful, warm, sweet man because, yes he was a wonderful, warm, sweet man – but he was also the strongest man I ever met in character. He was very tough. He worked like a sonofabitch. He could get cranky and he got snarky at times. He would rarely get angry. I've seen him angry only about three times in my life. He was a very complex guy, but he was that noble spirit."
"It was not smooth at all, and it was because of me, not because of Jim. Jim should have ****in' fired me several times. Jim was extraordinarily patient. I was a young guy who wanted to make his mark in the world, and if I was the co-director, by God why wasn't I attending more meetings and why didn't I get more say in things? I had a problem of self-esteem and it came through that way. It was difficult for Jim, not for me. It was frustrating for me, but that was an unhealthy frustration. It worked because Jim was patient."
"Jim didn't have a script – he didn't work that normal way. He wanted to have a laboratory of textures and designs and ideas and rehearsals. He had a story – but he wanted the script to work in conjunction with the laboratory of creating the characters."
"What Jim wanted to do, and it was totally his vision, was to get back to the darkness of the original Grimm’s fairy tales. He thought it was fine to scare children. He didn’t think it was healthy for children to always feel safe."
"I helped him direct the movie, but he had the vision. It was because of Jim not accepting the impossible and as a result he would work harder than anybody I’ve ever known because he was the one who led the way by working harder. None of us could say no because he always worked harder than us. When you say special, I think that really is the memory that I have, the incredible upward hill journey that we had to do every single day. It was very tough."
"I’m not involved in the slightest. I say “godspeed.” I am not involved. Nobody’s mentioned it in any way to me whatsoever. I’ll be very curious to see it."
"It seems Mr. Mark Saltzman was asked if Bert & Ernie are gay. It’s fine that he feels they are. They’re not, of course. But why that question? Does it really matter? Why the need to define people as only gay? There’s much more to a human being than just straightness or gayness."
"10 February 2014 in response to "Where were the King and Queen planning to go when they lost their lives out at sea?" speaking of Chris Buck"
"A wedding. According to Chris, they didn't die on the boat. They got washed up on a shore in a jungle island. The queen gave birth to a baby boy. They build a treehouse. They get eaten by a leopard..."
"Anna and Elsa's parents didn't die. Yes, there was a shipwreck, but they were at sea a little bit longer than we think they were because the mother was pregnant, and she gave birth on the boat, to a little boy. They get shipwrecked, and somehow they really washed way far away from the Scandinavian waters, and they end up in the jungle. They end up building a tree house and a leopard kills them, so their baby boy is raised by gorillas."
"He is Shiro’s significant other, They weren’t married yet, but that’s the road they were going down Him being gay was just something that we had always wanted to do with him from early on."
"It was exciting. The idea of having this character, who had been so much to so many people. And none of that was based on his sexual orientation, And just to reveal that he is a gay man, and that in no way changes his relationships with any of these people, anything that he’s done. Sometimes it’s amazing to have the stories where the character is finding themselves, but then it’s also incredibly important to have the stories where this character is fully formed, and he’s a gay man, and he’s doing amazing things. And he’s flawed, and he has his own problems. That was why I loved the idea of having Shiro be our representation."
"It was something that came up right from the get-go, but as you know, from the beginning we kind of thought we were going to kill Shiro at one point. And so we’re like, ‘Y’know what? We don’t really want to kill off our gay representation. Maybe we’ll find it somewhere else.’ But then we found out pretty soon after that, Shiro wasn’t allowed to die. Well, all right, we go back to plan one and yeah, it just took us a little while to get to the point in the story where we were able to reveal it. But he was kind of always in the works to be our [gay] representation. It’s a very normal part of his life and it’s just a very normal part of our story. It wasn’t supposed to be, like, scandalous or surprising or-- It’s just daily life. And I think we kind of try to envision a world where all of those things are just normal and accepted and people don’t freak out about them. It doesn’t change who he is at all."
"I think the important thing is maybe allow the fans to see what they want to see. We don't want to put anyone into a corner where it's like—So other people feel like they're not represented."
"Having been a "Star Wars" fan my whole life, and having spent most of my life on the other side of the curb and in that fandom, it softens the blow a little bit. I'm aware through my own experience that, first of all, the fans are so passionate, they care so deeply — sometimes they care very violently at me on Twitter. But it's because they care about these things, and it hurts when you're expecting something specific and you don't get it from something that you love. It always hurts, so I don't take it personally if a fan reacts negatively and lashes out on me on Twitter. That's fine. It's my job to be there for that."
"$175,000 will get the bridge completely restored and will give us a place to put it, That will get us at least a few of the computers going. And up until now, everybody’s been doing everything for free—I don't want people going broke on this. Fandom is fandom, but people have to eat and live."
"I got those, Data’s chair and console, the side walls, and some panels from Vegas. And though I didn’t know I'd have the entire bridge someday, I knew they were an invaluable history of Trek, I couldn't allow it to bring me down. I spent almost a year trying to convince people to help me. If worst came to worst it could go to a rich guy’s house but then no one would see it. Once this happened, that's how this bridge got forgotten about—people changed hands, people got fired, I didn't know if he had standing assembled walls or what, My whole thing was: this is good, it's great to have a dream, but it’s great to have your feet on the floor too. They said: ‘You have to do something. This can't remain in this condition."
"The films subsequently produced for the Army by Capra and his team survive as classics of wartime cinematic propaganda- a remarkable accomplishment, in retrospect, since each script had to be approved by some fifty military and civilian agencies in Washington. One of the primary objectives of the series was to combat the isolationist sentiments that lingered in the United States, and with this in mind the seven core films that Capra directed were given the collective title Why We Fight. President Franklin Roosevelt was so impressed by the first of these documentaries that he urged it to be shown in public theaters as well as to recruits. This was done, and Prelude to War went on to win an Academy Award as the best documentary of 1942. During the course of World War Two, the Why We Fight films were required viewing for millions of American soldiers. The series was also distributed abroad, with soundtracks in French, Spanish, Russian, and Chinese."
"To be inspired with the will to win, Capra told his associates as they embarked on this work, Americans needed to be shown that they were fighting for the existence of their country, and at the same time were carrying the "torch of freedom" for a better postwar world- a world in which conquest, exploitation, and economic evils had been eliminated, and peace and democracy prevailed. This seemed a clear line, and a familiar one to anyone who recalled the idealistic Allied propaganda of World War One."
"It could be that today's conservative movement remains in thrall to the same narrative that has defined its attitude toward film and the arts for decades. Inspired by feelings of exclusion after Hollywood and the popular culture turned leftward in the '60s and '70s, this narrative has defined the film industry as an irredeemably liberal institution toward which conservatives can only act in opposition—never engagement. Ironically, this narrative ignores the actual history of Hollywood, in which conservatives had a strong presence from the industry's founding in the early 20th century up through the '40s, '50s and into the mid-'60s]. The conservative Hollywood community at that time included such leading directors as Howard Hawks, Frank Capra, and Cecil B. DeMille, and major stars like John Wayne, Clark Gable, and Charlton Heston. These talents often worked side by side with notable Hollywood liberals like directors Billy Wilder, William Wyler, and John Huston, and stars like Humphrey Bogart, Lauren Bacall, and Spencer Tracy. The richness of classic Hollywood cinema is widely regarded as a testament to the ability of these two communities to work together, regardless of political differences. As the younger, more left-leaning "New Hollywood" generation swept into the industry in the late '60s and '70s, this older group of Hollywood conservatives faded away, never to be replaced. Except for a brief period in the '80s when the Reagan Presidency led to a conservative reengagement with film—with popular stars like Clint Eastwood, Sylvester Stallone, and Arnold Schwarzenegger making macho, patriotic action films—conservatives appeared to abandon popular culture altogether. In the wake of this retreat, conservative failure to engage with Hollywood now appears to have been recast by today's East Coast conservative establishment into a generalized opposition toward film and popular culture itself. In the early '90s, conservative film critic Michael Medved codified this oppositional feeling toward Hollywood in his best-selling book Hollywood vs. America."
"Shortly after the United States entered World War Two, Army Chief of Staff George C. Marshall summoned Frank Capra, the Hollywood director, and asked him to prepare a series of orientation films for viewing by American troops. When Capra demurred on the grounds that he had never made a documentary before, Marshall retorted: "Capra, I have never been Chief of Staff before. Thousands of young Americans have never had their legs shot off before. Boys are commanding ships today, who a year ago had never seen the ocean before." The director apologized, and promised "The best damned documentary films ever made.""
"I made mistakes in drama. I thought drama was when actors cried. But drama is when the audience cries."
"I wish I had the answer to that, because if I knew how to create an instantly popular character like that, I would do more of them. It’s weird to me because, on one hand, she’s appealing, but you look at her and she’s not exactly a good role model for girls. And in the past, we have definitely explored some of the darker edges of her story. She was kind of in an on-going abusive relationship with the Joker. So it is weird but maybe a lot of her appeal, at least recently, is because they have separated her from the Joker in comics. She’s become her own standalone character and definitely not in an abusive relationship with the Joker anymore. I guess that is somewhat empowering and people can relate to it. But truthfully, she was a really, really popular character even before all this. I think part of it is probably, to pat my own back, design. She was a really simple basic character in red and black, cute face, cute figure, one and done. So that definitely has to be a part of it."
"I love all the series I’ve done pretty much equally.I haven’t done a single series that I have been embarrassed by. Some of the movies are better than others."
"My first exposure to Batman as a character was Batman the TV series. But honestly, I didn’t know it was supposed to be a parody or campy. I thought it was the coolest thing I’d ever seen. Of course, I was 5 at the time. But all in one fell swoop, I became an instant super hero fan. Later on, as I got older and started reading more comics and getting into the super hero scene, I realized that the Batman show was kind of a comedy. I was reading Neal Adams comics and thinking, "Batman is kind of cooler than that show, he’s kind of scary and mysterious." So my perception of Batman changed over time, and then I went through the periods with Frank Miller and the Tim Burton movies. So now I’ve got these warring Batmans in my head. I still love the Adam West/Batman show. I still love the Neal Adams take on Batman comics. I still love The Dark Knight. All of these things totally contradict each other, and yet it’s fine to me. I’ve said it over and over again, Batman as a character is such a strong concept, he’s the kind of character that you can take him in any number of ways and it still feels right."
"I love filmmaking when fate is a part of the process and you are dependent on the laws of physics and the elements to get a single moment that transports or in some way creates an illusion even for a moment. I think that is tremendous fun and what I think filmmaking is, catching lightning in a bottle. I feel like we are so used to CGI now and thank god because it is a wonderful tool, but there is an element of everything you are looking at has been created in the comfort of a studio. I want to return to a world where I can celebrate when you are really interacting with the world."
"I consider myself very sentimental, very sensitive, but obviously my outward appearance is a bit scruffy-haired, and I have a general tendency toward snarling at people, and a sort of misanthropic nature. Maybe that is what people actually read. I do actually believe that misanthropy and sensitivity go hand in hand, because I have a tremendous disappointment in the ways of the world."
"I really love seeing things go sour, because that’s the way dread creeps into life. A lot of horror films start with a great shock scene. I grew up on that model and it’s great fun, but very perversely, I’m interested in setting up something else, where you’re really engaged with the humanity of the characters — you could be in a normal drama with its own set of problems — and then something else develops. I like this philosophical question: what comes first, reality or your interpretation of it? However interesting that is, and whether it fits in with the horror genre, I don’t know, but I think it makes perfect sense."
"Italian language is not just sonore. It is also visual."
"Sign Gene's director (Emilio Insolera) met up with Tokyo Journal in Shibuya whilst en route to the NHK studios. The director turns out to be a lively character, one, perhaps unsurprisingly, with a sense for physical and situational humor."
"I’ve often felt visual communicators have superhero-like qualities."
"You can see the existence of these beautiful signed languages which are incredibly visual, and they require space, they require space to grow."
"Emilio Insolera’s “Sign Gene” gave the world its first deaf superheroes. But after writing, directing, producing and starring in the film himself, you might argue that Insolera is the one with the superpowers."
"The greatest merit of Sign Gene is to break the veil that separates the audiences from the mysterious and fascinating world of the deaf, just as it did at the party in the Odeon auditorium, all united from that silent toast, from that speaking animatedly without voice, from that mimic joy in which we – incapable of communicating – were the only outsiders, the unique dis/ables, mutes like fishes in a very capable and alien society. Yes, if wanted to subvert, Insolera made the centerpiece."
"I myself regard the deaf people as superheroes, protectors of the visual language."
"From the director to the international cast, all of them are from deaf families for generations, while the film industry usually entrusts these roles to audacious interpreters that end up being bad imitators of the Sign language."
"The eye of the deaf sees what is invisible to the eye of the hearing."
"“My first impression was that I had stumbled into the future, but as a linguist I was also instantly fascinated with Japanese and how it has a relationship with sign language. Kanji are usually concepts or ideas and then hiragana acts as a bridge for communication It’s the same with sign language: We use fingerspelling (spelling out the alphabet with your hands) between our conceptual signs."