[In Marcel Ophuls' film The Memory of Justice] Mad old Nazis were to be heard deploring modern decadence. 'The difference is, we weren't obsessed with smut,' said one comfortable, retired SS man, all unaware of being up to his neck in blood and pus.
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'The Weld This Week'Clive James
The Nazis are in reality only miserable plagiarists who dress up old errors with new tinsel. It does not make any difference whether they flock to the banners of social revolution, whether they are guided by a false concept of the world and of life, or whether they are possessed by the superstition of a race and blood cult.
Pope Pius XII
I hav often heard ov men who had bekum disgusted with the world, and retired into solitude; but i hav never heard ov a kommitty ov our fust citizens waiting on them and asking them tew kum bak.
Josh Billings
The difference between our decadence and the Russians is that while theirs is brutal, ours is apathetic.
James Thurber
[You've said your material chooses you.] That's the difference between the serious artist and the craftsman—-the craftsman can take material and because of his abilities do a professional job of it. The serious artist, like Proust, is like an object caught by a wave and swept to shore. He's obsessed by his material; it's like a venom working in his blood and the art is the antidote.
Truman Capote
The major difference between Astaire and Kelly is a difference, not of talent or technique, but of levels of sophistication. On the face of it, Kelly looks the more sophisticated. Where Kelly has ideas, Astaire has dance steps. Where Kelly has smartly tailored, dramatically apt Comden and Green scripts, Astaire in the Thirties made do with formulas derived from nineteenth-century French Farce. But the Kelly film is no longer a dance film. It's a story film with dances, as distinguished from a dance film with a story. When Fred and Ginger go into their dance, you see it as a distinct formal entity, even if it's been elaborately built up to in the script. In a Kelly film, the plot action and the musical set pieces preserve a smooth community of high spirits, so that the pressure in a dance number will often seem too low, the dance itself plebeian or folksy in order to "match up" with the rest of the picture.
Fred Astaire
James, Clive
James, Donald
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