Quotes About History

I happened to happened to land in a time, in the middle '60s, that without knowing it, and without being told by the history of theater - which we now see from a historical point of view was an explosive time.

There's been no major motion picture released by a studio, no independent motion picture, in theaters, with King at the center, in the 50 years since these events happened, when we have biopics on all kinds of ridiculous people. And nothing on King? No cinematic representation that's meaningful and centered.

I'll be going to the granddaddy of the Los Angeles theaters.

All these actors who died before I was born, all the theaters and the artistic movements - all that stuff fills you up and makes you feel like you're the inheritor of all this information and of all its passion.

I studied at the Bristol Old Vic Theatre School, which was founded by Laurence Olivier and has alumni like Jeremy Irons and Daniel Day Lewis. It's a very erudite institution; its ethos, really, was always theatre-based.

I recall the night that President McKinley died. I was working at the time at a theatre in St. Louis. The oppressive feeling was in the air. I could not make the people laugh.

I love England, the people, the parks, the theatre.

I think in the old days, everybody used to act really quickly because Hollywood was built by theatre people.

The theatre, our theatre, comes from the Greeks.

It was a different planet in 1967, the Broadway theatre. It had a little ashtray clamped to the back of every seat and the author got 10% of the gross.

Part of what I enjoy about the theatre and acting is that sense of history.

From 1911 to 1928, the country was officially called Republic of China, but in reality, it was actually split between different warlords. It was one of the liveliest periods in Chinese history. It is therefore quite theatrical, and it is good for making films.

Whether by theft or by artistry or by conquest, when it comes to time, Venetians are the world's greatest experts. They bested time like no one else.

'London' is a gallery of sensation of impressions. It is a history of London in a thematic rather than a chronological sense with chapters of the history of smells, the history of silence, and the history of light. I have described the book as a labyrinth, and in that sense in complements my description of London itself.

The history of American art, in a way, begins with Jackson Pollock and his big paintings. This theme of bigness - all painters and sculptors have dealt with it ever since.

If there is an abiding theme in 'The Pursuit of Happiness,' it is the idea that you come into the world already shaped by other people's past histories.

In one aspect, my works record the history of the development of Chinese society. Concern about the situation of Chinese reality is one important theme of my works. I am trying to ask, 'How does our society develop? What are the problems in our society? Where is our direction leading?'

The pull of history has been a strong theme in my life as a novelist.

Despite its obscurity, probably no element on the periodic table has as colorful a history as antimony. Money, madness, poison, linguistics, charlatanism, sex - pretty much every theme that runs through the periodic table can be found in Element 51.

I like to try to capture places that a lot of people went to or have a deep emotional connection to. Malls, abandoned speedways, abandoned theme parks. To me, those are most interesting kinds of things to capture.

The theme of 'Bombay' will make you fall in love with it again and again.

Themes rise and fall. Kingdoms rise and fall. Religions rise and fall.

I think I might drum up the hardest end-of-term exams in the history of the world. I want to be remembered for something." "George, you'll be remembered. Who could forget you?" "Hopefully not you!" He kissed her forehead.

But I know now that isn't true; history is filled with fictional people. And even the epigraph Fitzgerald placed at the beginning of The Great Gatsby is by a writer who doesn't exist. We have all been fooled into believing in people who are entirely imaginary—made-up prisoners in a hypothetical panopticon. But the point isn't whether or not you believe in imaginary people; it's whether or not you want to.