Easiest Film Quotes

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The human mind is an incredible thing. It can conceive of the magnificence of the heavens and the intricacies of the basic components of matter. Yet for each mind to achieve its full potential, it needs a spark. The spark of enquiry and wonder. Often that spark comes from a teacher. Allow me to explain. I wasn’t the easiest person to teach, I was slow to learn to read and my handwriting was untidy. But when I was fourteen my teacher at my school in St Albans, Dikran Tahta, showed me how to harness my energy and encouraged me to think creatively about mathematics. He opened my eyes to maths as the blueprint of the universe itself. If you look behind every exceptional person there is an exceptional teacher. When each of us thinks about what we can do in life, chances are we can do it because of a teacher. [...] The basis for the future of education must lie in schools and inspiring teachers. But schools can only offer an elementary framework where sometimes rote-learning, equations and examinations can alienate children from science. Most people respond to a qualitative, rather than a quantitative, understanding, without the need for complicated equations. Popular science books and articles can also put across ideas about the way we live. However, only a small percentage of the population read even the most successful books. Science documentaries and films reach a mass audience, but it is only one-way communication.
Stephen Hawking (Brief Answers to the Big Questions)
If he were alive today, Plato—to take him as an example, because along with a dozen others he is regarded as the greatest thinker who ever lived—would certainly be ecstatic about a news industry capable of creating, exchanging, refining a new idea every day; where information keeps pouring in from the ends of the earth with a speediness he never knew in his own lifetime, while a staff of demiurges is on hand to check it all out instantaneously for its content of reason and reality. He would have supposed a newspaper office to be that topos uranios, that heavenly realm of ideas, which he has described so impressively that to this day all the better class of people are still idealists when talking to their children or employees. And of course if Plato were to walk suddenly into a news editor’s office today and prove himself to be indeed that great author who died over two thousand years ago he would be a tremendous sensation and would instantly be showered with the most lucrative offers. If he were then capable of writing a volume of philosophical travel pieces in three weeks, and a few thousand of his well-known short stories, perhaps even turn one or the other of his older works into film, he could undoubtedly do very well for himself for a considerable period of time. The moment his return had ceased to be news, however, and Mr. Plato tried to put into practice one of his well-known ideas, which had never quite come into their own, the editor in chief would ask him to submit only a nice little column on the subject now and then for the Life and Leisure section (but in the easiest and most lively style possible, not heavy: remember the readers), and the features editor would add that he was sorry, but he could use such a contribution only once a month or so, because there were so many other good writers to be considered. And both of these gentlemen would end up feeling that they had done quite a lot for a man who might indeed be the Nestor of European publicists but still was a bit outdated, and certainly not in a class for current newsworthiness with a man like, for instance, Paul Arnheim.
Robert Musil (The Man Without Qualities)
For some reason newspapers are not the laboratories and experimental stations of the mind that they could be, to the public's great benefit, but usually only its warehouses and stock exchanges. If he were alive today, Plato—to take him as an example, because along with a dozen others he is regarded as the greatest thinker who ever lived—would certainly be ecstatic about a news industry capable of creating, exchanging, refining a new idea every day; where information keeps pouring in from the ends of the earth with a speediness he never knew in his own lifetime, while a staff of demiurges is on hand to check it all out instantaneously for its content of reason and reality. He would have supposed a newspaper office to be that topos uranios, that heavenly realm of ideas, which he has described so impressively that to this day all the better class of people are still idealists when talking to their children or employees. And of course if Plato were to walk suddenly into a news editor’s office today and prove himself to be indeed that great author who died over two thousand years ago he would be a tremendous sensation and would instantly be showered with the most lucrative offers. If he were then capable of writing a volume of philosophical travel pieces in three weeks, and a few thousand of his well-known short stories, perhaps even turn one or the other of his older works into film, he could undoubtedly do very well for himself for a considerable period of time. The moment his return had ceased to be news, however, and Mr. Plato tried to put into practice one of his well-known ideas, which had never quite come into their own, the editor in chief would ask him to submit only a nice little column on the subject now and then for the Life and Leisure section (but in the easiest and most lively style possible, not heavy: remember the readers), and the features editor would add that he was sorry, but he could use such a contribution only once a month or so, because there were so many other good writers to be considered. And both of these gentlemen would end up feeling that they had done quite a lot for a man who might indeed be the Nestor of European publicists but still was a bit outdated, and certainly not in a class for current newsworthiness with a man like, for instance, Paul Arnheim.
Robert Musil (The Man Without Qualities)
There were years when I went to the movies almost every day, sometimes even twice a day, and they were the years between 1936 and the war, around the time of my adolescence. Those were years in which cinema was my world. It’s been said many times before that cinema is a form of escape, it’s a stock phrase intended to be a condemnation, and cinema certainly served that purpose for me back then. It satisfied a need for disorientation, for shifting my attention to another place, and I believe it’s a need that corresponds to a primary function of integration in the world, an essential phase in any kind of development. Of course there are other more substantial and personal ways of creating a different space for yourself: cinema was the easiest method and it was within reach, but it was also the one that instantly carried me farthest away. I went to the cinema in the afternoon, secretly fleeing from home, or using study with a classmate as an excuse, because my parents left me very little freedom during the months when school was in session. The urge to hide inside the cinema as soon as it opened at two in the afternoon was the proof of true passion. Attending the first screening had a number of advantages: the half-empty theater, it was like I had it all to myself, would allow me to stretch out in the middle of the third row with my legs on the back of the seat in front of me; the hope of returning home without anyone finding out about my escape, in order to receive permission to go out once again later on (and maybe see another film); a light daze for the rest of the afternoon, detrimental to studying but advantageous for daydreaming. And in addition to these explanations that were unmentionable for various reasons, there was another more serious one: entering right when it opened guaranteed the rare privilege of seeing the movie from the beginning and not from a random moment toward the middle or the end, because that was what usually happened when I got to the cinema later in the afternoon or toward the evening.
Italo Calvino (Making a Film)
Desi, after desh, the synonym I used for the equally dissatisfying word South Asian, to denote a bond between us all, easiest to experience through the material culture of India: its clothing, food, Bollywood films, music. Both of us, South Indian and Bangladeshi, have felt the exclusion of our cultures in this patramyth of North India translated into the United States.
Tanaïs (In Sensorium: Notes for My People)
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