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Mark Rosenfelder

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No matter where Woody goes, he never seems to leave 1955.
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Discussing the movie Vicky Cristina Barcelona

 
Mark Rosenfelder

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Woody Guthrie was what folks who don't believe in anything would call an anomaly. Admittedly, the intersection of space and time at the corner of July 14, 1912, and Okemah, Oklahoma, was a long shot to produce anything like a national treasure.
Woody was born in one of the most desolate places in America, just in time to come of age in the worst period in our history. ... He became the living embodiment of everything a people's revolution is supposed to be about: that working people have dignity, intelligence and value above and beyond the market's demand for their labor. ... For me personally, Woody is my hero of heroes and the only person on earth that I will go to my grave regretting that I never met.

 
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In this land of unlimited opportunity, a place where, to paraphrase Woody Allen, any man or woman can realize greatness as a patient or as a doctor, we have only one commercial American filmmaker who consistently speaks with his own voice. That is Woody Allen, gag writer, musician, humorist, philosopher, playwright, stand-up comic, film star, film writer and film director.

 
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With the possible exception of What's Up, Tiger Lily (1966), the schlocky Japanese spy movie to which he attached his own, sidesplitting English soundtrack, no Woody Allen movie has ever been more or less serious than another of his works. He's always been serious. It's the audiences who have been frivolous.
In Zelig he reassures us that he can still be funny and moving without making the sort of insistent filmic references in which he delights but which can be infuriating to others. Zelig is a nearly perfect — and perfectly original — Woody Allen comedy.

 
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Be brief, be pointed, let your matter stand
Lucid in order, solid and at hand;
Spend not your words on trifles but condense;
Strike with the mass of thought, not drops of sense;
Press to close with vigor, once begun,
And leave, (how hard the task!) leave off, when done.

 
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Arguably the finest recording found in all the Sun sessions, "Trying To Get To You" (1955), is a song that Presley made his own due to his hugely committed vocal, and the simple carefree abandon with which he performs it; at first, it feels like a classic country song with simple, elegant lyrics; but it is at the bridge - where Elvis really lets fly -, that the song is transformed from a lovely country lament, into deep blues; although the 1955 version is magnificent, Elvis manages to better it on his "1968 Comeback Special", in which he sings the song with so much intensity, it prompted critic Greil Marcus to exclaim "this is probably the finest rock and roll ever recorded.

 
Elvis Presley
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