Hans And Sophie Quotes & Sayings

I did go to a performing arts school, so that facilitated my creativity, though I ended up going in a more musical direction. — Alycia Debnam Carey

And yet ... And yet it was not the same. It could never be the same again. In the last thirty minutes, Josh's carefully ordered world had shifted and altered irrevocably. He was a normal high school sophomore, not too brilliant, but not stupid either. He played football, sang - badly - in his friend's band, had a few girls he was interested in, but no real girlfriend yet. He played the occasional computer game, preferred first person shooters like Quake and Doom and Unreal Tournament, couldn't handle the driving games and got lost in Myst. He loved The Simpsons and could quote chunks of episodes by heart, really liked Shrek, though he'd never admit it, thought the new Batman was all right and that X-Men was excellent. He even liked the new Superman, despite what other people said. Josh was ordinary. — Michael Scott

There needs to be more film directors of colour. They bandy about the word 'diversity' a lot, but when I say 'of colour,' I mean Asian, black - I mean people of all colour. We need to have those voices given the opportunity, not told that their films will not be distributed or will not sell well abroad. — Marianne Jean-Baptiste

You know what Hans told me last week?" she says as I open the door of my fitting room. "He told me to write down a list of everything I wanted to say about that women-and then tear it up. He said I'd feel a sense of freedom."
"Oh right," I say interestedly. "So what happened?"
"I wrote it all down," says Laurel. "And then I mailed it to her! — Sophie Kinsella

The guy was almost as tall as Doc, which put him in the six-foot-five range. And he was broad, with dark hair, but man, the chip on his shoulder was visible from the fucking moon. Prophet — S.E. Jakes

The severing of an established connection is exponentially more painful than the rejection of an attempted connection. — David Foster Wallace

I dislike this whole business of experimentation on animals, unless there's some very good and altogether exceptional reason to this very case. The thing that gets me is that it's not possible for the animals to understand why they are being called upon to suffer. They don't suffer for their own good or benefit at all, and I often wonder how far it's for anyone's. They're given no choice, and there is no central authority responsible for deciding whether what's done is morally justifiable. These experiment animals are just sentient objects; they're useful because they are able to react; sometimes precisely because they're able to feel fear and pain. And they're used as if they were electric light bulbs or boots. What it comes to is that whereas there used to be human and animal slaves, now there are just animal slaves. They have no legal rights or choices in the matter. — Richard Adams

Already in 1915, Sophie Tauber divides the surface of her aquarelle into squares and rectangles which she then juxtaposes horizontally and perpendicularly as Mondrian, Itten and Paul Klee did in the same period, fh). She constructs them as if they were masonry work. The colors are luminous, ranging from the raw yellow to deep red or blue. — Hans Arp

Their eyes met; neither would forget. — Jud Newborn

It was Sophie ( Sophie Arp Tauber, woman artist and later Arp's wife) who, by the example of her work and her life, both of them bathed in clarity, showed me the right way. In her world, the high and the low, the light and the dark, the eternal and the ephemeral, are balanced in prefect equilibrium. — Hans Arp

Well, just because someone might be a source doesn't necessarily make them Deep Throat — Bob Woodward

In 1915 Sophie Tauber and I carried out our first works in the simplest forms, using painting, embroidery and pasted paper (without using oil colors to avoid any reference with usual painting). These were probably the first manifestations of their kind, pictures that were their own reality, without meaning or cerebral intention. We rejected everything in the nature of a copy or a description, in order to give free flow to what was elemental and spontaneous. — Hans Arp