Masterpiece Theater Quotes

We've searched our database for all the quotes and captions related to Masterpiece Theater. Here they are! All 9 of them:

If you want to create a masterpiece, you must always avoid beautiful lies.
Jerzy Grotowski
I'm getting stale. I always do this time of year. I keep my nose to the grindestone and put in long hours and rustle up good meals and do all the chores and run errands and get along with people -- and have a fine time doing it and enjoy life. Then I realize, bang, that I'm tired and I don't want to wait on my family for a while and I wish I could go away somewhere and have people wait on me hand and foot, and dress up and go to restaurants and the theater and act like a woman of the world. I feel as if I'd been swallowed up whole by all these powerful DeVotos and I'd like to be me for a while with somebody who never heard the name.
Joan Reardon (As Always, Julia: The Letters of Julia Child and Avis DeVoto: Food, Friendship, and the Making of a Masterpiece)
So always avoid banality. That is, avoid illustrating the author's words and remarks. If you want to create a true masterpiece you must always avoid beautiful lies: the truths on the calender under each date you find a proverb or saying such as: "He who is good to others will be happy." But this is not true. It is a lie. The spectator, perhaps, is content. The spectator likes easy truths. But we are not there to please or pander to the spectator. We are here to tell the truth.
Jerzy Grotowski
It is a masterpiece,' said Jules Fougler. 'I hope you will prove yourself worthy of it, Peter. It is the kind of play that depends upon what the members of the audience are capable of bringing with them into the theater. If you are one of those literal-minded people, with a dry soul and a limited imagination, it is not for you. But if you are a real human being with a big, big heart full of laughter, who has preserved the uncorrupted capacity of his childhood for pure emotion-you will find it an unforgettable experience.
Ayn Rand (The Fountainhead)
For a time, the press lord William Randolph Hearst did everything in his vast powers to keep the film “Citizen Kane” from finding an audience. He intimidated theater owners, refused to let ads run in his newspapers, and even pressured studio sycophants to destroy the negative. At first, the titan of San Simeon had his way: the film faded from view after a splashy initial release. But over the years, “Citizen Kane” came to be recognized for the masterpiece it is, and now regularly tops lists as the greatest film ever made.
He was one of those Americans who formed their impressions of life in the United Kingdom by watching reruns of Masterpiece Theater.
Daniel Silva (House of Spies (Gabriel Allon #17))
The notion that modern England might not be a cultural paradise appeared to come as a shock to Brady Boswell. He was one of those Americans who formed their impressions of life in the United Kingdom by watching reruns of Masterpiece Theater. “A
Daniel Silva (House of Spies (Gabriel Allon #17))
You’re the best.” “So my customers tell me. But I’d really like to hear those words spoken by a gorgeous single man. One who reads, has impeccable manners, and can watch Masterpiece Theater without dozing off. I’m setting the bar ridiculously high, I know.” Eloise grinned and shooed Jane up the stairs.
Ellery Adams (Murder in the Mystery Suite (Book Retreat Mysteries, #1))
Bulgakov always loved clowning and agreed with E. T. A. Hoffmann that irony and buffoonery are expressions of ‘the deepest contemplation contemplation of life in all its conditionality’. It is not by chance that his stage adaptations of the comic masterpieces of Gogol and Cervantes coincided with the writing of The Master and Margarita. Behind such specific ‘influences’ stands the age-old tradition of folk humour with its carnivalized world-view, its reversals and dethronings, its relativizing of worldly absolutes—a tradition that was the subject of a monumental study by Bulgakov’s countryman and contemporary Mikhail Bakhtin. Bakhtin’s Rabelais and His World, which in its way was as much an explosion of Soviet reality as Bulgakov’s novel, appeared in 1965, a year before The Master and Margarita. The coincidence was not lost on Russian readers. Commenting on it, Bulgakov’s wife noted that, while there had never been any direct link between the two men, they were both responding to the same historical situation from the same cultural basis.
Mikhail Bulgakov (The Master and Margarita)