Sunday, December 22, 2024 Text is available under the CC BY-SA 3.0 licence.

Fernand Leger

« All quotes from this author
 

At the same time we would most like to run the film back and see how the sanctuaries close again and the lights go out and the great powers of nature are once again met with deserved reverence. One can fell an oak in twenty seconds; but in order to become what it now is, it grew for a century.. ..Progress is but a word without sense, and the cow, which keeps the world alive, will not move faster than three kilometres per hour in the future, either. (on the Circus, 1950)
--
Fernand Léger - The Later Years -, catalogue edited by Nicolas Serota, published by the Trustees of the Whitechapel Art gallery, London, Prestel Verlag, 1988, p. 15

 
Fernand Leger

» Fernand Leger - all quotes »



Tags: Fernand Leger Quotes, Authors starting by L


Similar quotes

 

Arakawa: I'd follow three simple rules: 1) Never go within two kilometres of circus freaks. 2) Never go near the butcher shop in Dublith. 3) Always spend under 300 sen on snacks. That ought to keep me alive! [chuckle]

 
Hiromu Arakawa
 

The only one who's always punctual is Death … whatever the time he always strikes his knell at the first streak of dawn … and believe me, he knows what he's doing. How I hate the dawn! It's the hour of the firing squad. The last glass of brandy. The ultimate cigarette. The final wish. All the hideously calculated hypocrisy of men when they commit a murder in the name of justice. Then it's the time of death on a grander scale, the hour of the great offenses … fix your bayonets boys …gentlemen, synchronize your watches … in ten seconds time the barrage starts … a thousand men are destined to die in order to capture a farmhouse no one has lived in for years... And finally dawn is the herald of the day, our twelve hours of unimportance, when we have to cede to the pressures of the powers, smile at people we have every reason but expediency to detest … A diplomat these days is nothing but a head-waiter who's allowed to sit down occasionally.

 
Peter Ustinov
 

I know already that I will return to this day whenever I want to. I can bid it alive. Preserve it. There is a still point where the present, the now, winds around itself, and nothing is tangled. The river is not where it begins or ends, but right in the middle point, anchored by what has happened and what is to arrive. You can close your eyes and there will be a light snow falling in New York, and seconds later you are sunning upon a rock in Zacapa, and seconds later still you are surfing through the Bronx on the strength of your own desire. There is no way to find a word to fit around this feeling. Words resist it. Words give it a pattern it does not own. Words put it in time. They freeze what cannot be stopped. Try to describe the taste of a peach. Try to describe it.

 
Colum McCann
 

As to the sudden industrial progress which has been achieved during our own century, and which is usually ascribed to the triumph of individualism and competition, it certainly has a much deeper origin than that. Once the great discoveries of the fifteenth century were made, especially that of the pressure of the atmosphere, supported by a series of advances in natural philosophy — and they were made under the medieval city organization, — once these discoveries were made, the invention of the steam-motor, and all the revolution which the conquest of a new power implied, had necessarily to follow... To attribute, therefore, the industrial progress of our century to the war of each against all which it has proclaimed, is to reason like the man who, knowing not the causes of rain, attributes it to the victim he has immolated before his clay idol. For industrial progress, as for each other conquest over nature, mutual aid and close intercourse certainly are, as they have been, much more advantageous than mutual struggle.

 
Peter Kropotkin
 

Film has dream, film has music. No form of art goes beyond ordinary consciousness as film does, straight to our emotions, deep into the twilight room of the soul. A little twitch in our optic nerve, a shock effect: twenty-four illuminated frames in a second, darkness in between, the optic nerve incapable of registering darkness. At the editing table, when I run the trip of film through, frame by frame, I still feel that dizzy sense of magic of my childhood: in the darkness of the wardrobe, I slowly wind one frame after another, see almost imperceptible changes, wind faster — a movement.

 
Ingmar Bergman
© 2009–2013Quotes Privacy Policy | Contact