John Andrews Quotes & Sayings

In terms of influence, my style icons have been a mixture of Julie Andrews and Olivia Newton-John. When I was little I used to watch 'Grease,' 'Mary Poppins' and 'The Sound of Music' a lot. If you put all those things together you do kind of get my outfits. A slightly tarty nanny in a second-hand outfit. That is pretty much what I wear. — Sophie Ellis-Bextor

True evil - conscious, calculating evil - does not seek to destroy life, but rather encourage it. True evil - malicious in every action - cheers life on. True evil - defiled in every pursuit - is not, as Max Andrews proposes, maximally selfish, rather full of restraint and accommodating in every way to the needs of men, mice, mushrooms, and microbes. True evil - debased in every motion - promotes, defends, and even admires life in its struggle to persist and self-adorn. True evil - known only to itself - urges life to grow more complex, more bold, more adventurous and more expressive, for only then is it at its most vulnerable, and when it is at its most vulnerable it is pregnant with possibility. Nothing, after all, can be truly lost or truly broken before it is first acquired, held to the bosom, adored, and cherished. — John Zande

As a kid, I remember John Daly bombing it around St. Andrews in 1995 to win the British Open, and people say we are similar in a lot of ways. — Dustin Johnson

Many scientists have interfered with science in precisely the way courts always worried tissue donors might do. "It's ironic," she told me. "The Moore court's concern was, if you give a person property rights in their tissues, it would slow down research because people might withhold access for money. But the Moore decision backfired - it just handed that commercial value to researchers." According to Andrews and a dissenting California Supreme Court judge, the ruling didn't prevent commercialization; it just took patients out of the equation and emboldened scientists to commodify tissues in increasing numbers. Andrews and many others have argued that this makes scientists less likely to share samples and results, which slows research; they also worry that it interferes with health-care delivery. — Rebecca Skloot

Young people," McDonald said contemptuously. "You always think there's something to find out."
"Yes, sir," Andrews said.
"Well, there's nothing," McDonald said. "You get born, and you nurse on lies, and you get weaned on lies, and you learn fancier lies in school. You live all your life on lies, and then maybe when you're ready to die, it comes to you - that there's nothing, nothing but yourself and what you could have done. Only you ain't done it, because the lies told you there was something else. Then you know you could of had the world, because you're the only one that knows the secret; only then it's too late. You're too old."
"No," Andrews said. A vague terror crept from the darkness that surrounded them, and tightened his voice. "That's not the way it is."
"You ain't learned, then," McDonald said. "You ain't learned yet ... — John Edward Williams

The world demands that kind of justice, old school eye-for-an-eye stuff. The New Covenant requires the disciple to extend grace and mercy as honor to the one who extended immeasurable grace to us. — John W. Andrews

John Adams, in a letter to his wife Abigail in 1777, reminds us of the charge we have to ensure that the gift of Liberty is not squandered. "Posterity! you will never know how much it cost the present generation to preserve your freedom! I hope you will make a good use of it. If you do not, I shall repent in Heaven that I ever took half the pains to preserve it. — Steve Andrews

In The New Biographical Dictionary of Film, David Thomson argues that Brennan should have won awards for even better performances in To Have and Have Not (1944), My Darling Clementine (1946), Red River (1948), The Far Country (1955), and Rio Bravo (1959). Thomson counts no less than twenty-eight high caliber Brennan performances in still more films, including These Three (1936), Fury (1936), Meet John Doe (1941), and Bad Day At Black Rock (1955). Brennan worked with Hollywood's greatest directors - John Ford, Howard Hawks, William Wyler, King Vidor, and Fritz Lang - while also starring in Jean Renoir's Hollywood directorial debut, Swamp Water (1941). To discuss Brennan's greatest performances is also to comment on the work of Gary Cooper, Henry Fonda, Dana Andrews, Spencer Tracy, John Wayne, Humphrey Bogart, Lauren Bacall, Anne Baxter, Barbara Stanwyck, Lana Turner, Linda Darnell, Ginger Rogers, Loretta Young, and many other stars. — Carl Rollyson