Jews From The United States

"The career of a young theoretical physicist consists of treating the harmonic oscillator in ever-increasing levels of abstraction."

"Every successful physical theory swallows its predecessor alive. But it does so by interpreting the concepts of the old theory in terms of the new, not the other way around. Thus our aim is not "the interpretation of quantum mechanics." It is the interpretation of classical mechanics."

"People get a lot of confusion, because they keep trying to think of quantum mechanics as classical mechanics"

"Not only God knows, I know, and by the end of the semester, you will know."

"Hard work makes easy reading or, at least, easier reading."

"It’s a pleasure that you don’t outgrow the anthology."

"One of the joys of teaching with the anthology is to watch the excitement grow as students, who may think the past dull and irrelevant, find how fresh and new and powerful are the kinds of writings that are hundreds of years old."

"Life without literature is a life reduced to penury. It expands you in every way. It illuminates what you’re doing. It shows you possibilities you haven’t thought of. It enables you to live the lives of other people than yourself. It broadens you, it makes you more human. It makes life enjoyable."

"The theories of the major philosophers of the 18th century secular enlightenment were biblical and theological in spite of themselves."

"All students are capable of growth. Some of them seem to be very slow to begin with and it’s probably not their fault, nor do I think it’s a matter of genetics. It’s a matter of what has happened in their lives before. They are all capable of growing, but they will not grow unless you interest them, captivate them in some way, and then make them reach out. Then they will finally enjoy reaching out."

"Pay attention to your students. Hear what they say, try to find out what their capacities are, what make sense to them. Adapt what you are doing and saying to those capacities, but make your students stretch upward. I think the trick is to adapt to the level of a student, but never rest on that level — always make them reach out. … If a student does not quite get it the first time, he or she will come back and get it later. If you don’t set your writing — and teaching — at a level that makes them stretch, they are never going to develop their intellectual muscle."

"I think most of the things I published have been published out of desperation, not because they were perfected."

"I think the hardest thing to teach a student is that what he or she puts down on paper is changeable. It’s not the final thing, it’s the first thing, which may just be the suggestive, vague identification of something that you have to come back to and rewrite. At first, students tend to freeze at the first effort. The breakthrough comes when they realize that they can make it better — can identify what their purposes were and realize better ways to achieve those purposes. That is the important thing in teaching students to write: not to be frozen in their first effort."

"The survival of artistic modes in which we recognize ourselves, identify ourselves and place ourselves will survive as long as humanity survives."

"He always violated your expectations. … He was a character."

"It's amazing how, age after age, in country after country, and in all languages, Shakespeare emerges as incomparable."

"We are human, and nothing is more interesting to us than humanity. The appeal of literature is that it is so thoroughly a human thing — by, for and about human beings. If you lose that focus, you obviate the source of the power and permanence of literature."

"If you learn one thing from having lived through decades of changing views, it is that all predictions are necessarily false."

"John Updike is always fun. And one of my former students, Tom Pynchon. I like to read Archie Ammons, my great friend. And Harold Bloom, another former student."

"When something startlingly new comes up, young people, especially, seize it. You can't complain about that."

"If you read quickly to get through a poem to what it means, you have missed the body of the poem."

"I've always been surprised at the degree of success of The Mirror and the Lamp and the range and duration of esteem for it. … I had no reason to expect in 1953 that it would appeal to more than a specialized group interested in literary criticism. I think one of the reasons why it's been of interest to a broad spectrum of readers is because one of its emphases was on the role of metaphors in steering human thinking. It was a very early book to insist on the role of metaphors in cognition, as well as in imaginative literature — to claim that key metaphors help determine what and how we perceive and how we think about our perceptions. … Natural Supernaturalism is quite well known and even used as a textbook, but it never seems to have attracted the acclaim of its predecessor."

"[hitrecord.org is my] alternative outlet of where I get to be a little less professional and just freak out a little bit."

"The cinematographer came up to me and said, 'You have to hit your mark exactly,'"

"I suppose the longer anyone spends on earth, the closer we all get to becoming superfluous characters."

"[Looper's] sort of a down-to-earth Blade Runner: it feels real. It's that style of sci-fi that could actually exist in 30 years."

"Actually I've thanked you a lot of times so now I'm thanking you again."

"Wrote an adaptation for the Brothers Grimm's Little Red Riding Hood for 2011-10-31."

"I just want to say thank you again to all you crazy motherfuckers who came out for hitRECord on Halloween - give me your records! I want to see your videos, I want to see your photos, and even more importantly, I love this stuff, remix it!"

"The most valiant thing you can do as an artist is inspire someone else to be creative."

"I guess I have an eclectic taste [about (500) Days of Summer, G.I. Joe, and Uncertainty all in one year], I don't just like one thing. Contrast is key. What do they say? Variety is the spice of life. My favorite actors are the chameleons, guys like Daniel Day-Lewis, Billy Bob Thornton, Meryl Streep, people who are always different."

"Sundance means a lot to me. This is my third one. People that come here who love movies. Everyone has the attitude that movies aren't just disposable entertainment - they can really mean something. I love that, because that's the way I feel about films."

"The cool thing about my character was that it’s not that digital. I get to put hours of prosthetic makeup on and see a different creature altogether. I’ve seen how he looks and it’s really cool."

"I don't blame the people for the fact that so many movies are bad. I think there's a corrupt, perverted, lazy and sloppy attitude that's pervasive in the movie business. The whole entertainment business is kind of crumbling around us."

"[It's a] really smart, faithful adaptation of the book. The book is such a tight page-turner… The character I play is an extreme guy… He's a killer. He wants to be Jesse James. He grew up watching cowboy and Indian movies and wants to be that. Then he meets Mickey Rourke's character, who's named The Black Bird and he wants to partner up with him and be a criminal and kill people. He's a psychotic and very bad guy… The thing about him is, he's not the bad killer, the kind of guy that sits and stews and then has these rageful outbursts. He is this extreme extrovert who never shuts up and tells you ridiculously tall tales about himself and mythologizes everything… Hyperactive, hyper, hyper guy wearing cowboy boots."

"I think the whole thing's changing a lot. The traditions of Hollywood are grand and great and are going to survive forever, in a way. But they're not going to be the only way for much longer. The technology is such now that you don't have to have millions of dollars to make a movie. You can make one with a computer. Like the Ze Frank show. I don't know if you know who that guy is, but at ZeFrank.com, he makes a couple-minute show every day. What he does is fucking great, and he does it all by himself. I think those lines between "behind the camera" and "in front of the camera," the lines between actor, writer, director, the lines between audience and performer… all those lines are kind of dissolving. And I'm real curious where it's going to lead."

"The Lookout was by far the hardest thing I've ever done. Partially because both Brick and Mysterious Skin were four to five week shoots, and The Lookout was nine or 10. So there's the marathon aspect, as well as the fact that Chris Pratt is having a harder go of it than either of the other two characters ever did. You know, waking up in the morning is difficult for him. Putting a sentence together is difficult for him. Getting dressed properly, driving a car, all these things. He can do them fine, but it's just much harder than it is for a normal person, so I had to try to make it hard for myself somehow. So it was challenging."

"There's this barrier that goes up between the people who make the movies and the people who watch the movies. But the point of art is to have a connection between people. I think it's going to become much more of a dialogue, where everybody will watch everybody's stuff, as opposed to how it is now, where the huge corporations produce everything. I'm looking forward to seeing that."

"I didn’t really like doing commercials. You had to behave like you were on angel dust or something."

"My dad never blew anything up, but he probably had friends who did. He and my mom have always preached that the pen is mightier than a Molotov cocktail."

"Supermarket tabloids and celebrity gossip shows are not just innocently shallow entertainment, but a fundamental part of a much larger movement that involves apathy, greed and hierarchy. Celebrity doesn’t have anything to do with art or craft. It’s about being rich and thinking that you’re better than everybody else."

"Traditionally there's this barrier between the people who make movies and the people who watch them, and I think it sucks. Making Hollywood this castle on a hill and crowning actors the "Stars" might have been exciting and even brought people together last century, but now it's grown kind of disgusting in its excesses and it's no longer bringing people together—it's keeping people apart. It always turns my stomach a little when, because I'm in movies and on TV, people sometimes treat me as if I'm somehow different from, even above, a normal person. But the emails, posts, and comments I've been trading recently with people through those aforementioned sites cause me no nausea; they inspire me. There's no nasty status predicated on "Fame" or "Fortune." There's just that beautiful thing, the point of all art in the first place: a connection between one individual and another."

"To me, a sex scene in a movie generally means a gratuitous scene that doesn't serve the story but gives a kind of excuse—we've got these two actors, we want to see them naked, so let's bring in the music and the soft light. In Mysterious Skin, none of the sex scenes are like that. They all are about the process that this character is going through—and he grows from each of those scenes. You couldn't have told the story any other way. There's nothing to be embarrassed about. I would be embarrassed if I was like, "Shit, everybody wants to look at my ass.""

"Most scripts are bad. I read a lot of them. Brick was a good script just to read. It was like, “Oh my God, these words feel so good in my mouth.” A lot of movies try to set up a world with cool sets, costumes, camera work. In Brick, the world is born from the words."

"Actors didn't use to be celebrities. A hundred years ago, they put the theaters next to the brothels. Actors were poor. Celebrities used to be kings and queens. Then the United States abolished monarchy, and now there's this coming together of show business and celebrity. I don't think it's healthy. I don't want to sound self-important, but all these celebrity shows and magazines—it comes from us, from Hollywood, from our country. We're the ones creating it. And I think it works in close step with a lot of other bad things that are happening in the world. It promotes greed, it promotes being selfish and it promotes this ladder, where you're a better person if you have more money. It's not at all about the work itself. Don't get me wrong. I love movies. But this myth of celebrity has nothing to do with movies."

"It's fascinating to watch a show develop from a script to a 22-minute comedy. I try to learn as much, and ask as many questions, as I can without being annoying."

"Where the account goes awfully wrong is in the musings on East Germany, where Neiman is prone to accepting the GDR’s self-serving use of its "anti-fascist" badging at a face value it never merited, despite the good faith of many cultural figures in the idea. East Germany was sired by Stalinism. Former Nazis were allowed to take "useful" positions in the state apparatus. When I worked with Markus Wolf, the former head of East German intelligence, on his memoirs, his admission that most shocked me was that the east had, at one point, tacitly supported neo-Nazi demonstrations in the west, perversely in order to demonstrate the revival of fascism in the Federal Republic."

"What concerns me most here are the ways in which contemporary voices considered to be leftist have abandoned the philosophical ideas that are central to any left-wing standpoint: a commitment to universalism over tribalism, a firm distinction between justice and power, and a belief in the possibility of progress."

"Statues are not about history. We don't memorialize each piece of history. We memorialize things that we want to value and things that we want our children to walk by and say "This person embodied the values that I care about." Therefore, statues are about values not about history."

"I was part of the national German committee to plan celebrations for the 2005 Einstein Year. One hundred years after Einstein made his most famous discoveries, the left-leaning government had decided to spend 20 million euros to show its support of science in general and of left-wing cosmopolitan (ahem!) intellectuals in particular. As the only Jew on the committee, my main function would be as what Orthodox Jews call a mashgiach—someone who guarantees that the premises are kosher. There were exhibits, there were banners, there were lectures, and more. What if they made a mistake? I spotted one in an early brochure, where Einstein was described as a "fellow-citizen-of-Jewish-background." Did the committee know, I asked, that Einstein had expressly ridiculed that weird circumlocution? "He just called himself a Jew," I said. "Jews don't consider the word insulting." "Is that so, Frau Neiman?" replied the minister of science. She was flustered. "That’s very helpful, just the sort of thing we need to know." Jew in German has two syllables, not one, and I suppose that buried deep in some dreams are memories of sinister mobs shouting Ju-dah! Ju-dah! Perhaps even for atheists, echoes of Judas Iscariot play a role. Germans use phrases with nine syllables, like fellow-citizen-of-Jewish-extraction or fellow-citizen-of-Jewish-heritage, in order to avoid using the obvious two. The habit is so engrained that despite my objection, the second draft of the brochure used the same phrase. "I know we all have many duties here," I said at the next meeting. "But perhaps it has been forgotten that I mentioned that Einstein didn't like this designation. He made fun of it several times." I was learning to use certain forms of polite circumlocution myself. "Of course," said the minister’s deputy. "We’ll see it gets changed." They never did; too many nightmares worked against them."