Fleming Quotes

We've searched our database for all the quotes and captions related to Fleming. Here they are! All 100 of them:

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Never say 'no' to adventures. Always say 'yes,' otherwise you'll lead a very dull life.
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Ian Fleming
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You only live twice: Once when you are born And once when you look death in the face
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Ian Fleming (You Only Live Twice (James Bond, #12))
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I am a poet in deeds--not often in words.
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Ian Fleming (Goldfinger (James Bond, #7))
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People are islands,' she said. 'They don't really touch. However close they are, they're really quite separate. Even if they've been married for fifty years.
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Ian Fleming (Casino Royale (James Bond, #1))
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Mr Bond, they have a saying in Chicago: 'Once is happenstance. Twice is coincidence. The third time it's enemy action'.
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Ian Fleming (Goldfinger (James Bond, #7))
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The distance between insanity and genius is measured only by success
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Ian Fleming
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Once is happenstance. Twice is coincidence. Three times is enemy action
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Ian Fleming (Goldfinger (James Bond, #7))
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Surround yourself with human beings, my dear James. They are easier to fight for than principles.
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Ian Fleming (Casino Royale (James Bond, #1))
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A woman can put up with almost anything; anything but indifference.
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Ian Fleming
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I want to be more like James Bond, and less like Ian Fleming.
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Jarod Kintz (I Want)
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Mine’s Bond – James Bond.
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Ian Fleming (Casino Royale (James Bond, #1))
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Never say 'no' to adventures.
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Ian Fleming (Chitty Chitty Bang Bang (Chitty Chitty Bang Bang, #1))
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Bond reflected that good Americans were fine people and that most of them seemed to come from Texas.
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Ian Fleming (Casino Royale (James Bond, #1))
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Today we are fighting Communism. Okay. If I'd been alive fifty years ago, the brand of Conservatism we have today would have been damn near called Communism and we should have been told to go and fight that. History is moving pretty quickly these days and the heroes and villains keep on changing parts.
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Ian Fleming (Casino Royale (James Bond, #1))
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It was the short men that caused all the trouble in the world.
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Ian Fleming (Goldfinger (James Bond, #7))
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Smoking I find the most ridiculous of all the varieties of human behavior and practically the only one that is entirely against nature. Can you imagine a cow or any animal taking a mouthful of smoldering straw then breathing in the smoke and blowing it out through its nostrils?
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Ian Fleming (Goldfinger (James Bond, #7))
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Loneliness becomes a lover, solitude a darling sin.
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Ian Fleming (The Spy Who Loved Me (James Bond, #10))
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Unfortunately most ways of making big money take a long time. By the time one has made the money one is too old to enjoy it.
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Ian Fleming (Goldfinger (James Bond, #7))
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The World Is Not Enough
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Ian Fleming (On Her Majesty's Secret Service (James Bond, #11))
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Everyone has the revolver of resignation in his pocket.
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Ian Fleming (Casino Royale (James Bond, #1))
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History is moving pretty quickly these days, and the heroes and villains keep on changing parts.
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Ian Fleming
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Bond always mistrusted short men. They grew up from childhood with an inferiority complex. All their lives they would strive to be big - bigger than the others who had teased them as a child. Napoleon had been short, and Hitler. It was the short men that caused all the trouble in the world.
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Ian Fleming
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Most marriages don't add two people together. They subtract one from the other.
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Ian Fleming (Diamonds Are Forever (James Bond, #4))
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A dry martini,' he said. 'One. In a deep champagne goblet.' ... Just a moment. Three measures of Gordon's, one of vodka, half a measure of Kina Lillet. Shake it very well until it's ice-cold, then add a large thin slice of lemon-peel. Got it?
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Ian Fleming (Casino Royale (James Bond, #1))
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History is moving pretty quickly these days and the heroes and villains keep on changing parts.
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Ian Fleming (Casino Royale (James Bond, #1))
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It’s just that I’d rather die of drink than of thirst.
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Ian Fleming (Thunderball (James Bond, #9))
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All the greatest men are maniacs. They are possessed by a mania which drives them forward towards thier goal. The great scientists, the philosophers, the religious leaders - all maniacs. What else but a blind singlenee of purpose could have given focus to thier genius, would have kept them in the groove of purpose. Mania ... is as priceless as genius.
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Ian Fleming (Doctor No (James Bond, #6))
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All women love semi-rape. They love to be taken.It was his sweet brutality against my bruised body that made his act of love so piercingly wonderful.
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Ian Fleming (The Spy Who Loved Me (James Bond, #10))
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Hope makes a good breakfast. Eat plenty of it.
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Ian Fleming (From Russia with Love (James Bond, #5))
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Like all harsh, cold men, he was easily tipped over into sentiment.
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Ian Fleming (Casino Royale (James Bond, #1))
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The gain to the winner is always less than the loss to the loser.
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Ian Fleming (Live and Let Die (James Bond, #2))
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Coldplay songs deliver an amorphous, irrefutable interpretation of how being in love is supposed to feel, and people find themselves wanting that feeling for real. They want men to adore them like Lloyd Dobler would, and they want women to think like Aimee Mann, and they expect all their arguments to sound like Sam Malone and Diane Chambers. They think everything will work out perfectly in the end (just like it did for Helen Fielding's Bridget Jones and Nick Hornby's Rob Fleming), and they don't stop believing because Journey's Steve Perry insists we should never do that.
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Chuck Klosterman (Sex, Drugs, and Cocoa Puffs: A Low Culture Manifesto)
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The bitch is dead now.
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Ian Fleming (Casino Royale (James Bond, #1))
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I think it's the same with all the relationships between a man and a woman. They can survive anything so long as some kind of basic humanity exists between the two people. When all kindness has gone, when one person obviously and sincerely doesn't care if the other is alive or dead, then it's just no good. -- from Quantum of Solace
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Ian Fleming (For Your Eyes Only (James Bond, #8))
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Prohibition is the trigger of crime.
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Ian Fleming (Goldfinger)
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A long marriage is two people trying to dance a duet and two solos at the same time.
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Anne Taylor Fleming
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Love of life is born of the awareness of death, of the dread of it.
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Ian Fleming (The Spy Who Loved Me (James Bond, #10))
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And people with obsessions, reflected Bond, were blind to danger.
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Ian Fleming (Moonraker (James Bond, #3))
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...Goldfinger could not have known that high tension was Bond's natural way of life and that pressure and danger relaxed him.
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Ian Fleming (Goldfinger (James Bond, #7))
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Before a man's forty, girls cost nothing. After that you have to pay money, or tell a story. Of the two, it's the story that hurts most. Anyway I'm not forty yet.
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Ian Fleming (Diamonds Are Forever (James Bond, #4))
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Worry is a dividend paid to disaster before it is due.
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Ian Fleming
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His headache was still sitting over his right eye as if it had been nailed there.
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Ian Fleming (Moonraker (James Bond, #3))
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But I am greedy for life. I do too much of everything all the time. Suddenly one day my heart will fail. The Iron Crab will get me as it got my father. But I am not afraid of The Crab. At least I shall have died from an honourable disease. Perhaps they will put on my tombstone. 'This Man Died from Living Too Much'.
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Ian Fleming (From Russia with Love (James Bond, #5))
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They want us dead,' said Bond calmly. 'So we have to stay alive.
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Ian Fleming (Moonraker (James Bond, #3))
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You start to die the moment you are born. The whole of life is cutting through the pack with death. So take it easy.
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Ian Fleming (Live and Let Die (James Bond, #2))
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And then one day when you're playing your little game you'll suddenly find yourself pinned down like a butterfly.
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Ian Fleming
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He shrugged his shoulders to shift the pain of failure---the pain that is so much greater than the pleasure of success.
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Ian Fleming (Moonraker (James Bond, #3))
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You know it’s a bad sign when the theme song from Titanic describes your relationship.
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Julia Spencer-Fleming (All Mortal Flesh (The Rev. Clare Fergusson & Russ Van Alstyne Mysteries #5))
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It reads better than it lives
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Ian Fleming (Diamonds Are Forever (James Bond, #4))
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Now that I think of it, she looked splendid. I wish I had met her somewhere else. I wish I had appreciated her as she deserved. I wish that everything had gone differently.
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Alice Munro (The Moons of Jupiter)
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Our prisons are full of people who think they're Napoleon..or God.
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Ian Fleming (Doctor No (James Bond, #6))
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It never ceases to amaze me how many folks jump right over "I'll try" to "I can't.
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Julia Spencer-Fleming (To Darkness and to Death (Rev. Clare Fergusson & Russ Van Alstyne Mysteries, #4))
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He stomped away like a pint-sized Godzilla looking for Tokyo.
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Julia Spencer-Fleming (I Shall Not Want (Rev. Clare Fergusson & Russ Van Alstyne Mysteries, #6))
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Those whom the Gods wish to destroy, they first make bored.
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Ian Fleming (From Russia with Love (James Bond, #5))
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There's a Good Book about goodness and how to be good and so forth, but there's no Evil Book about how to be evil and how to be bad. The Devil had no prophets to write his Ten Commandments, and no team of authors to write his biography. His case has gone completely by default. We know nothing about him but a lot of fairy stories from our parents and schoolmasters. He has no book from which we can learn the nature of evil in all its forms, with parables about evil people, proverbs about evil people, folklore about evil people. All we have is the living example of people who are least good, or our own intuition.
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Ian Fleming (Casino Royale (James Bond, #1))
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We may just be specters in this world, but our stories, if they are remembered and retold, become real and solid and alive... Once you hear a story, it becomes part of you. It can't die.
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Candace Fleming (On the Day I Died: Stories from the Grave)
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Surround yourself with human beings, my dear James. They are easier to fight for than principles.' He laughed. 'But don't let me down and become human yourself. We would lose such a wonderful machine.
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Ian Fleming (Casino Royale (James Bond, #1))
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She explained to me later that she must have been possessed by a subconscious desire to be raped. Well she found me in the mountains and she was raped - by me.
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Ian Fleming (On Her Majesty's Secret Service (James Bond, #11))
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When the odds are hopeless, when all seems to be lost, then is the time to be calm, to make a show of authority – at least of indifference
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Ian Fleming (On Her Majesty's Secret Service (James Bond, #11))
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You can get far in North America with laconic grunts. "Huh," "hun," and "hi!" in their various modulations, together with "sure," "guess so," "that so?" and "nuts!" will meet almost any contingency.
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Ian Fleming (For Your Eyes Only (James Bond, #8))
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In their talk there was nothing but companionship with a distant undertone of passion. In the background there was the unspoken zest of the promise which, in due course and in their own time, would be met.
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Ian Fleming (Casino Royale (James Bond, #1))
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He was a secret agent, and still alive thanks to his exact attention to the detail of his profession.
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Ian Fleming (Casino Royale (James Bond, #1))
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I never have more than one drink before dinner. But I do like that one to be large and very strong and very cold and very well-made. I hate small portions of anything, particularly when they taste bad.
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Ian Fleming (Casino Royale (James Bond, #1))
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And don't get hurt,' [Dexter] added. 'There's no one to help you up there. And don't go stirring up a lot of trouble for us. This case isn't ripe yet. Until it is, our policy with Mr Big is 'live and let live'.' Bond looked quizzically at Captain Dexter In my job,' he said, 'when I come up against a man like this one, I have another motto. It's 'live and let die'.
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Ian Fleming (Live and Let Die (James Bond, #2))
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If you cannot say what you mean, your majesty, you will never mean what you say and a gentleman should always mean what he says.
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Reginald Fleming 'R.J.' Johnston - The Last Emperor
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I don’t drink tea. I hate it. It’s mud. Moreover it’s one of the main reasons for the downfall of the British Empire. Be a good girl and make me some coffee.
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Ian Fleming (Goldfinger (James Bond, #7))
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Englishmen are so odd. They are like a nest of Chinese boxes. It takes a very long time to get to the centre of them. When one gets there the result is unrewarding, but the process is instructive and entertaining.
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Ian Fleming (Casino Royale (James Bond, #1))
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Above all, he liked it that everything was one's own fault. There was only oneself to praise or blame. Luck was a servant and not a master. Luck had to be accepted with a shrug or taken advantage of up to the hilt. But it had to be understood and recognized for what it was and not confused with a faulty appreciation of the odds, for, at gambling, the deadly sin is to mistake bad play for bad luck. And luck in all its moods had to be loved and not feared
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Ian Fleming (Casino Royale (James Bond, #1))
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I would stay away from him and leave him to go his own road where there would be other women, countless other women, who would probably give him as much physical pleasure as he had had with me. I wouldn’t care, or at least I told myself that I wouldn’t care, because none of them would ever own himβ€”own any larger piece of him than I now did.
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Ian Fleming (The Spy Who Loved Me (James Bond, #10))
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I've found that one must try and teach people that there's no top limit to disaster-that, so long as breath remains in your body, you've got accept the miseries of life. They will often seem infinite, insupportable. They are part of the human condition.
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Ian Fleming (You Only Live Twice (James Bond, #12))
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The conventional parabola--sentiment, the touch of the hand, the kiss, the passionate kiss, the feel of the body, the climax in the bed, then more bed, then less bed, then the boredom, the tears and the final bitterness--was to him shameful and hypocritical.
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Ian Fleming (Casino Royale (James Bond, #1))
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Luck in all its moods had to be loved and not feared Bond saw luck as a woman, to be softly wooed or brutally ravaged, never pandered to or pursued. But he was honest enough to admit that he had never yet been made to suffer by cards or by women. One day, and he accepted the fact he would be brought to his knees by love or by luck.
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Ian Fleming (Casino Royale (James Bond, #1))
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Just as, at least in one religion, accidia is the first of the cardinal sins, so bordom, and particularly the incredible circumstance of waking up bored, was the only vice Bond utterly condemned.
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Ian Fleming (From Russia with Love (James Bond, #5))
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Danger, like a third man, was standing in the room.
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Ian Fleming (From Russia with Love (James Bond, #5))
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You are about to awake when you dream that you are dreaming.
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Ian Fleming
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Those who deserve to die, die the death they deserve.
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Ian Fleming (Live and Let Die (James Bond, #2))
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For her, sex was nothing more than an itch. And this phsychological and physiological neutrality of hers at once relieved her of so many human emotions and sentiments and desires. Sexual neutrality was the essence of coldness in an individual. It was a great and wonderful thing to be born with.
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Ian Fleming (From Russia with Love (James Bond, #5))
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Champagne and Benzedrine! Never again.
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Ian Fleming (Moonraker (James Bond, #3))
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In his mind he fingered the necklace of the days to come.
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Ian Fleming (Casino Royale (James Bond, #1))
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There’s always music playing somewhere. You just have to listen.
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Sarah Lyons Fleming (Until the End of the World (Until the End of the World, #1))
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Once a King, always a King. But once a Knight is enough!
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Ian Fleming (From Russia With Love)
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Bond sat for a moment frozen to his chair. Suddenly, there flashed unwanted into his mind that most sinister line in poetry: 'They reckon ill who leave me out. When me they fly, I am the wings.
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Ian Fleming (Diamonds Are Forever (James Bond, #4))
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Unless she married soon, Bond thought for the hundredth time, or had a lover, her cool air of authority might easily become spinsterish and she would join the army of women who had married a career.
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Ian Fleming (Moonraker (James Bond, #3))
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Look my friend, I've got to commit a murder tonight. Not you. Me. So be a good chap and stuff it, would you?
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Ian Fleming (Octopussy and the Living Daylights (James Bond, #14))
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James Bond, with two double bourbons inside him, sat in the final departure lounge of Miami Airport and thought about life and death.
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Ian Fleming (Goldfinger (James Bond, #7))
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When she had failed once or twice to respond to some conversational gambit or other, Bond also relapsed into silence and occupied himself with his own gloomy thoughts.
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Ian Fleming (Casino Royale (James Bond, #1))
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Why not make it for always?
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Ian Fleming (On Her Majesty's Secret Service (James Bond, #11))
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Never send a man where you can send a bullet.
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Ian Fleming (For Your Eyes Only (James Bond, #8))
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Schopenhauer said only men had the total objectivity necessary for genius, and that you only had to look at a woman’s shape to see that she wasn’t intended for much mental or physical work.
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Jacky Fleming (The Trouble With Women)
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Art uses truth and beautyβ€”both of which can be quite ugly, even as that ugliness is transcendedβ€”to foster change, growth, love, perception, friendship. Something that doesn’t do that can be great. But I wouldn’t call it art […]
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Colin Fleming
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It is not just a question of blowing up a building or shooting a prime minister. Such bourgeois horseplay is not contemplated. Our operation must be delicate, refined and aimed at the heart of the Intelligence apparat of the West.
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Ian Fleming (From Russia with Love (James Bond, #5))
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You draw a line in the sand and say you won’t cross it, you won’t believe or do a particular thing. But once you’ve grown accustomed to the unbelievable, or you’ve done what you’ve sworn you’d never do, you redraw the line a little farther back. You let the waves wash the first away like it never existed.
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Sarah Lyons Fleming (Mordacious (The City, #1))
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Bond had taken her to the station and had kissed her once hard on the lips and had gone away. It hadn't been love, but a quotation had come into Bond's mind as his cab moved out of Pennsylvania station: 'Some love is fire, some love is rust. But the finest, cleanest love is lust.
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Ian Fleming (Goldfinger (James Bond, #7))
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Women are often meticulous and safe drivers, but they are very seldom first-class. In general, Bond regarded them as a mild hazard and he always gave them plenty of road and was ready for the unpredictable. Four women in a car he regarded as the highest potential danger, and two women nearly as lethal. Women together cannot keep silent in a car, and when women talk they have to look into each other’s faces. An exchange of words is not enough. They have to see the other person’s expression, perhaps to read behind the others’ words or analyze the reaction to their own. So two women in the front seat of a car constantly distract each other’s attention from the road ahead and four women are more than doubly dangerous for the driver not only has to hear and see, what her companion is saying but also, for women are like that, what the two behind are talking about.
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Ian Fleming (Thunderball (James Bond, #9))
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The great trains are going out all over Europe, one by one, but still, three times a week, the Orient Express thunders superbly over the 1,400 miles of glittering steel track between Istanbul and Paris. Under the arc-lights, the long-chassied German locomotive panted quietly with the labored breath of a dragon dying of asthma. Each heavy breath seemed certain to be the last. Then came another.
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Ian Fleming (From Russia with Love (James Bond, #5))
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I believe that God hears our prayers, and cherishes them. I believe He answers by sending us His spirit, giving us strenght, and peace, and insight. I don't think He responds by turning away bullets and curing cancer. Though sometimes that does happen." Harlene frowned. "In other words, sometimes, the answer is no?" "No. Sometimes the answer is "This is life, in all its variety. Make your way through it with grace, and never forget that I love you.
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Julia Spencer-Fleming (In the Bleak Midwinter (The Rev. Clare Fergusson & Russ Van Alstyne Mysteries #1))
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Bond insisted ordering Leiter’s Haig-and-Haig ”on the rocks” and then he looked carefully at the barman. ”A Dry Martini", he said. "One. In a deep champagne goblet.” ”Oui, monsieur.” Just a moment. Three measures of Gordons, one of vodka, half a measure of Kina Lillet. Shake it very well until it's ice-cold, then add a large thin slice of lemonpeel. Got it?" ”Certainly, monsieur.” The barman seemed pleased with the idea.
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Ian Fleming (Casino Royale (James Bond, #1))
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Bond came to the conclusion that Tilly Masterton was one of those girls whose hormones had got mixed up. He knew the type well and thought they and their male counterparts were a direct consequence of giving votes to women and 'sex equality.' As a result of fifty years of emancipation, feminine qualities were dying out or being transferred to the males. Pansies of both sexes were everywhere, not yet completely homosexual, but confused, not knowing what they were. The result was a herd of unhappy sexual misfits--barren and full of frustrations, the women wanting to dominate and the men to be nannied. He was sorry for them, but he had no time for them.
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Ian Fleming (Goldfinger (James Bond, #7))
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I don’t think there’s a less elitist thing on earth to do than to try and reach out and connect with another human being . . . And that’s what the best writing does, that’s what art does. It looks a reader in the eye, and it proceeds honestly with that reader, and nakedly. There is a compact there, a bond, a relationship, a union, a symbiosis . . . It’s not about you. Whether you’re a genius or an idiot savant. It’s about the work. The work is more important than you. So it’s not about back-claps and plaudits and β€œisn’t that author smart.” It’s about, β€œthis book really connected with me. And even though you, my friend, are very different from me, I’m lending it to you, because I think it will connect with you as well.” Community. Across the eras. Between people who have never met, who will never meet, who are nonetheless bound in something together, in different ways.
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Colin Fleming
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With all due respect to the religions of the world, there is no other story like the Christian story. The god who thunders, the god who persecutes and condemns, the god who wreaks vengeance - yes, we know this god from the caricatures. We know this god from the old paintings. We know this god from hearing continual references to "the Old Testament God." But this is not who God is. "The Old Testament God" is the one who has come down from his throne on high into the world of sinful human flesh and of his own free will and decision has come under his own judgment in order to deliver us from everlasting condemnation and bring us into eternal life. He has not required human sacrifice; he has himself become the human sacrifice. He has not turned us over and forsaken us; he was himself turned over and forsaken. This is what the Old Testament prophet Isaiah says: Surely he has borne our griefs and carried our sorrows; yet we esteemed him stricken, smitten by God, and afflicted. But he was wounded for our transgressions, he was bruised for our iniquities; upon him was the chastisement that made us whole, and with his stripes we are healed. (53:4-5)
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Fleming Rutledge (And God Spoke to Abraham: Preaching from the Old Testament)