Quotes About Nostalgia

Mr. Pickwick, she thought, and Weller—yes, Sam Weller, that was his name—and the long lanky Mr. Winkle who fought in the duel. It's all exactly like that, she thought (trying to catch the aroma of the book, the bird's-eye view which we reproduce when we try to remember something read long ago and build up from an incident or a character in the story). It's all exactly like the background of Pickwick Papers.

When Tilly was fifteen she had imagined herself in love with Archie Cobbe, for he was exactly the sort of young man to awaken a romantic attachment. He was so big and so good-looking and people said he was wild. You met him sometimes, riding about Chevis Green on a prancing horse and he always waved his cap and shouted "Hallo!" Then old Lady Chevis had died and left him Chevis Place, and Archie had taken the name of "Chevis" and settled down into a model squire.

But Father took no notice. Perhaps he had never played tip-and-run when he was a boy. As a matter of fact I could not imagine Father as a boy. I could not believe he had ever been young and small with dirty hands and untidy hair—it was incredible.

She was thinking how odd it was that children grew up so quickly and grown-up people remained much the same. It was only yesterday (or so it seemed to Dorcas) that she had carried Simon upstairs in her arms. Now he could run up the stairs much faster than she could. Tomorrow, or soon after, he would have grown too big to play bears—he would not need her anymore.

The moment. I think back on it. A lot. It's like revisiting a favorite place. A place you wish you could go to again. But I can't because that place doesn't exist anymore, except in my memory.

I think about it, and I realize there's been some version of a Batman or Spiderman or Superman franchise since I was a boy, since before I was a boy.

Choosing sepia is all to do with trying to make the image look romantic and idealistic. It's sort of a soft version of propaganda.

I was never much of a club guy. Even when I was in New York in the early eighties, I never was once in Studio 54. It was too noisy. My version of those years mostly took place at my house.

I was riding my mountain bike in Colorado, and I met a dog who reminded me so much of my very first dog in the way she interacted with me, looked at me, and wagged her tail that I rode away convinced I'd just very possibly met the reincarnated version of my long lost friend.

I've seen pretty much all the 'Peter Pan's except for one of the further back ones where the boy had curly hair. I can't remember. I really loved the 2003 version. I really loved that one because that was around the year I was born. That's quite funny.

I made little Super 8 extravaganzas when I was a kid, the first being my own version of 'Romeo and Juliet,' and where I played all the parts except for Juliet.

My mother had her dresses made. In those days in Chile, the early '70s, people had dressmakers make their things. With the leftovers, my sister and I always had a matching outfit. She had an outfit, we had the mini version. That was the very late '60s, early '70s way to dress your kids.

What you see in 'Daredevil' and 'Jessica Jones' isn't the Hell's Kitchen of today; it's a version of what it was like.

Mary Katherine Gallagher is an exaggerated version of me, how I felt when I was little.

I love 'Peter Pan' to death. It's one of the most influential pieces of storytelling in my life. It made a huge impact on how I grew up. I love the cartoon. I love the 2003 version.

Like every child of divorce, I had parent-trap fantasies. In fact, 'The Parent Trap' was my favourite movie. I was a Nineties baby, so I particularly loved the Lindsay Lohan version.

I was on 'Junior Star Search' when I was 10 years old, in the acting category. The adult version of 'Star Search' didn't have an acting category, but for the kids, they had an acting category. It was the strangest thing. It was full blown 1980s, with big hair, mullets, and the whole deal.

One of the first albums I can remember hearing was a Supertramp best of, with mostly 'Breakfast in America' songs on it. It's kind of the same thing as the Flaming Lips, where there are these really melancholy lyrics and melodies, yet it's extremely uplifting. They're like a nonfuturistic version of the Flaming Lips.

I had seen 'Hook' growing up - it was one of my favorite films - and I had seen the version of 'Peter Pan' that Jason Issacs was in, and I had seen the older versions, obviously the Disney version.

My guitar heroes are Eric Clapton and Jeff Beck and people like that - so I've tried to make an album of Robert Johnson covers that, well, while not totally faithful for blues purists, is faithful for people like me that grew up with the '60s and the electric blues-rock versions of Johnson's songs.

Orson Welles's second 'I-did-it' should show once and for all that film making, radio and the stage are three different guys better kept separated. 'The Magnificent Ambersons' is one of those versions of the richest family in town during the good old days.

I've been reading comics since I was four. I used to get them when I would go grocery shopping with my mom. I remember getting the digest versions of old DC comics. The one that I remember reading first was Paul Levitz' 'Justice Society of America' stuff that he was doing in the '70s.

The early versions of 'Shell's Wonderful World of Golf' were great. It's sort of interesting: as it progressed, it became worse and worse, but the early versions were really fantastic with Jimmy Demaret and Gene Sarazen. They were classics.

I go online, and I love watching heavy metal bands and guitar players play heavy metal versions of the 'Zelda' theme, and people do all the 'Zelda' music, which is one of my favorite soundtracks.