text:
Apple Inc.

Apple Inc. is an American consumer electronics corporation headquartered in Cupertino, California, formerly known as Apple Computer Inc. it was founded in 1976 by Steve Jobs and Steve Wozniak.

Quotes

 * Here's to the crazy ones. The misfits. The rebels. The troublemakers. The round pegs in the square holes. The ones who see things differently. They're not fond of rules. And they have no respect for the status quo.  You can quote them, disagree with them, glorify or vilify them. About the only thing you can't do is ignore them.  Because they change things. They push the human race forward. While some see them as the crazy ones, we see genius.  Because the people who are crazy enough to think they can change the world, are the ones who do.

 * Everyone wants a MacBook Pro because they are so bitchin'.
 * Steve Jobs,

 * Well, looks like you've got lots of stuff to do, before you do any stuff
 * "Mac",

 * 'It Just Works' Apple WWDC (2011)

you value the first thing that actually matters. While others are distracted by the new, you focus on the significance of a whole new take. Even before you could see how, you never doubted we would change things. And then we did. Together. Again and again, and again, and again… Relentless optimism is what moves the world forward. So, keep seeing things differently. Keep thrusting there is always another way, a better way, a bigger way. One that lifts up humanity. Breaks down our barriers. And heals the landscape. You are the difference between the world as it was and the better place it will become. And different is the one thing about us, that will always be the same.
 * Here’s to those who have always seen things differently. The ones who follow a vision, not a path. Where others perceive first as valuable,
 * Introductory video to the Apple Event keynote address (9 September 2014)

Quotes about Apple

 * Quotes about Apple Inc. and its products, sorted alphabetically by author or source

 * If there was a lot of emotion in my voice today, it's because we've all been waiting for this day for a long time. It felt so great, … the people at this company are doing the best work of their lives, the best work that Apple has ever done.
 * Tim Cook, "Tim Cook tells USA TODAY: 'This is epic'" at USA Today (10 September 2014)

 * Apple is a business. And we’ve somehow attached this emotion [of love, devotion, and a sense of higher purpose] to a business which is just there to make money for its shareholders. That’s all it is, nothing more. Creating that association is probably one of Steve’s greatest accomplishments.
 * Andy Grignon, iPhone senior manager from 2005 to 2007, as interviewed in Steve Jobs: The Man in the Machine a documentary film directed by Alex Gibney

 * Microsoft has had two goals. One was to copy the Mac and the other was to copy Lotus' success in the spreadsheet. And over the course of the last 10 years, Microsoft accomplished both of those goals. And now they are completely lost. They were able to copy the Mac because the Mac was frozen in time. The Mac didn't change much for the last 10 years. It changed maybe 10 percent. It was a sitting duck. It's amazing that it took Microsoft 10 years to copy something that was a sitting duck. Apple, unfortunately, doesn't deserve too much sympathy. They invested hundreds and hundreds of millions of dollars into R&D, but very little came out They produced almost no new innovation since the original Mac itself.
 * Steve Jobs, "Steve Jobs in 1994: The Rolling Stone Interview" June 16, 1994, reprinted in Jeff Goodell, Rolling Stones, January 17, 2011

 * Playboy: Then for now, aren't you asking home-computer buyers to invest $3000 in what is essentially an act of faith?
 * Jobs: In the future, it won't be an act of faith. The hard part of what we're up against now is that people ask you about specifics and you can't tell them. A hundred years ago, if somebody had asked Alexander Graham Bell, "What are you going to be able to do with a telephone?" he wouldn't have been able to tell him the ways the telephone would affect the world. He didn't know that people would use the telephone to call up and find out what movies were playing that night or to order some groceries or call a relative on the other side of the globe. But remember that first the public telegraph was inaugurated, in 1844. It was an amazing breakthrough in communications. You could actually send messages from New York to San Francisco in an afternoon. People talked about putting a telegraph on every desk in America to improve productivity. But it wouldn't have worked. It required that people learn this whole sequence of strange incantations, Morse code, dots and dashes, to use the telegraph. It took about 40 hours to learn. The majority of people would never learn how to use it. So, fortunately, in the 1870s, Bell filed the patents for the telephone. It performed basically the same function as the telegraph, but people already knew how to use it. Also, the neatest thing about it was that besides allowing you to communicate with just words, it allowed you to sing.
 * Playboy: Meaning what?
 * Jobs: It allowed you to intone your words with meaning beyond the simple linguistics. And we're in the same situation today. Some people are saying that we ought to put an IBM PC on every desk in America to improve productivity. It won't work. The special incantations you have to learn this time are "slash q-zs" and things like that. The manual for WordStar, the most popular word-processing program, is 400 pages thick. To write a novel, you have to read a novel—one that reads like a mystery to most people. They're not going to learn slash q-z any more than they're going to learn Morse code. That is what Macintosh is all about. It's the first "telephone" of our industry. And, besides that, the neatest thing about it, to me, is that the Macintosh lets you sing the way the telephone did. You don't simply communicate words, you have special print styles and the ability to draw and add pictures to express yourself.
 * Steve Jobs, Playboy, Feb 1985, as quoted in “Steve Jobs Imagines 'Nationwide' Internet in 1985 Interview”, Matt Novak, 12/15/14 2:20pm Paleofuture, Gizmodo.

 * Jobs: Most people have no concept of how an automatic transmission works, yet they know how to drive a car. You don't have to study physics to understand the laws of motion to drive a car. You don't have to understand any of this stuff to use Macintosh.
 * Steve Jobs, Playboy, 1985, by Philip Elmer-Dewitt, “Steve-Jobs The Playboy Interview”, Fortune.com, November 20, 2010.

 * With the exception of the Macintosh, whose users have found many creative ways to avoid being restrained (or insulted) by the decision that they would find more than one mouse button confusing, the new generation of machines has not freed its users from the keyboard-heavy user interfaces that preceded them.
 * Rob Pike, in A Minimalist Global User Interface (1991), proceedings of the Summer 1991 USENIX Conference.

 * A frustration I have is that a lot of people increasingly seem to equate an advertising business model with somehow being out of alignment with your customers, ... I think it’s the most ridiculous concept. What, you think because you’re paying Apple that you’re somehow in alignment with them? If you were in alignment with them, then they’d make their products a lot cheaper!
 * Mark Zuckerberg, in “Inside Facebook's Plan to Wire the World” by Lev Grossman, Time (2014)

 * A foreman immediately roused 8,000 workers inside the company’s dormitories, according to the executive. Each employee was given a biscuit and a cup of tea, guided to a workstation and within half an hour started a 12-hour shift fitting glass screens into beveled frames. Within 96 hours, the plant was producing over 10,000 iPhones a day.
 * “How the U.S. Lost Out on iPhone Work” by Charles Duhigg and Keith Bradsher, New York Times (2012)

title: Apple Inc.


text:
User talk:68.107.206.133

~ UDScott 12:58, 20 February 2006 (UTC)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: User talk:68.107.206.133


text:
Matthew Prior

Matthew Prior (July 21, 1664 – September 18, 1721) was an English poet and diplomat.

Quotes

 * Our hopes, like towering falcons, aim At objects in an airy height; The little pleasure of the game Is from afar to view the flight.
 * To the Honorable Charles Montague (1692).

 * From ignorance our comfort flows. The only wretched are the wise.
 * To the Honorable Charles Montague (1692).

 * That if weak women went astray, Their stars were more in fault than they.
 * Hans Carvel (1700).

 * The end must justify the means.
 * Hans Carvel (1700).

 * Forbear to mention what thou canst not praise.
 * Carmen Seculare (1700).

 * Soft peace she brings; wherever she arrives She builds our quiet as she forms our lives; Lays the rough paths of peevish Nature even, And opens in each heart a little heaven.
 * Charity (1703).

 * Be to her virtues very kind; Be to her faults a little blind; Let all her ways be unconfined; And clap your padlock — on her mind!
 * An English Padlock (1707).

 * And thought the nation ne'er would thrive Till all the whores were burnt alive.
 * Paulo Purganti and His Wife (1708).

 * He ranged his tropes, and preached up patience; Backed his opinion with quotations.
 * Paulo Purganti and His Wife (1708).

 * Cured yesterday of my disease, I died last night of my physician.
 * The Remedy Worse than the Disease (1714).

 * Now fitted the halter, now traversed the cart, And often took leave, but was loth to depart.
 * The Thief and the Cordelier (1718).

 * His noble negligences teach What others' toils despair to reach.
 * Alma, Canto II, l. 7 (1718).

 * Till their own dreams at length decive 'em, And oft repeating, they believe 'em.
 * Alma, Canto III, l. 13 (1718).

 * To John I owed great obligation; But John, unhappily, thought fit To publish it to all the nation: Sure John and I are more than quit.
 * Epigram (1718).

 * Venus, take my votive glass; Since I am not what I was, What from this day I shall be, Venus, let me never see.
 * The Lady Who Offers Her Looking-Glass to Venus (1718).

 * Nobles and heralds, by your leave, Here lies what once was Matthew Prior; The son of Adam and of Eve: Can Bourbon or Nassau claim higher?
 * Epitaph (1721).

 * All jargon of the schools.
 * I am that I am, An Ode; reported in Bartlett's Familiar Quotations, 10th ed. (1919).

 * Odds life! must one swear to the truth of a song?
 * A Better Answer; reported in Bartlett's Familiar Quotations, 10th ed. (1919).

 * They never taste who always drink; They always talk who never think.
 * Upon a passage in the Scaligerana; reported in Bartlett's Familiar Quotations, 10th ed. (1919).

 * That air and harmony of shape express, Fine by degrees, and beautifully less.
 * Henry and Emma; reported in Bartlett's Familiar Quotations, 10th ed. (1919).

 * Abra was ready ere I called her name; And though I called another, Abra came.
 * Solomon on the Vanity of the World, book ii, line 364; reported in Bartlett's Familiar Quotations, 10th ed. (1919).

 * For hope is but the dream of those that wake.
 * Solomon on the Vanity of the World, book iii, line 102; reported in Bartlett's Familiar Quotations, 10th ed. (1919).

 * Who breathes must suffer, and who thinks must mourn; And he alone is bless'd who ne'er was born.
 * Solomon on the Vanity of the World, book iii, line 240; reported in Bartlett's Familiar Quotations, 10th ed. (1919).

 * A Rechabite poor Will must live, And drink of Adam's ale.
 * The Wandering Pilgrim.; reported in Bartlett's Familiar Quotations'', 10th ed. (1919).

title: Matthew Prior


text:
Alain-René Lesage

Alain-René Lesage (May 8, 1668 – November 17, 1747), also spelled Le Sage, was a French novelist and playwright.

La Tontine (1709)

 * A good doctor pursues his calling without any regard to a bad result. Otherwise, teaching in medical school might be called into question and where would we be then?

 * To forbid wine to a man of your type is the same as forbidding women to a man of a different sort.

 * In order to know the worth of a virtuous husband, is it not necessary for the wife to be dispirited herself? First, give her a young man of twenty, and not only will she be fine, she'll have a reasonable husband.

 * A smart daughter ought not to examine her future husband too closely. She ought to consider it a pleasure to find one agreeable to her father.

 * I don't know any more than you what the future will hold. But my point of view is different. You see despair and I see cause for hope. I read the future in a way that is more agreeable than you do.

 * The more I have to suffer, the more my character will grow.

Gil Blas (1715-1735)

 * It may be said that his wit shines at the expense of his memory.
 * Book III, ch. 11. Compare: "The Right Honorable gentleman is indebted to his memory for his jests, and to his imagination for his facts", Richard Brinsley Sheridan, Speech in Reply to Mr. Dundas, in Sheridaniana.

 * A flatterer can risk everything with great personages.
 * Book IV, ch. 7.

 * Pride and conceit were the original sin of man.
 * Book VII, ch. 3.

 * I wish you all sorts of prosperity with a little more taste.
 * Book VII, ch. 4.

 * The pleasure of talking is the inextinguishable passion of a woman, coeval with the act of breathing.
 * Book VII, ch. 7.

 * Isocrates was in the right to insinuate, in his elegant Greek expression, that what is got over the Devil's back is spent under his belly.
 * Book VIII, ch. 9. Compare: "What is got over the Devil's back is spent under the belly", François Rabelais, Works, Book V, ch. 11.

 * Facts are stubborn things.
 * Book X, ch. 1. Earlier written by Elliot, Essay on Field Husbandry, p. 35 (1747). Translated by Tobias George Smollett, Translation of Gil Blas, Book x, Chapter 1.

 * Plain as a pike-staff.
 * Book XII, ch. 7. Compare: "A flat case as plain as a pack-staff", Thomas Middleton, The Family of Love (1602-07), Act v, Scene 3.

title: Alain-René Lesage


text:
User talk:72.137.163.70

~ UDScott 19:05, 20 February 2006 (UTC)

title: User talk:72.137.163.70


text:
Joseph McCabe

Joseph Martin McCabe (12 November 1867 – 10 January 1955) was a well-known atheist and author of numerous books. He had been a Catholic priest.

Quotes

 * The theist and the scientist are rival interpreters of nature, the one retreats as the other advances.
 * The Existence of God (1913), p. 84.

 * A law of nature is not a formula drawn up by a legislator, but a mere summary of the observed facts — a "bundle of facts." Things do not act in a particular way because there is a law, but we state the "law" because they act in that way.
 * The Existence of God (1913).

 * The sentiments attributed to Christ are in the Old Testament. They were familiar in the Jewish schools and to all the Pharisees, long before the time of Christ, as they were familiar in all the civilizations of the earth — Egyptian, Babylonian, and Persian, Greek, and Hindu.
 * The Sources of the Morality of the Gospels (1914).

 * Evolution throws a wonderful light on all the struggles, eccentricities, tortuous developments of the human conscience in the past. It is the only theory of morals that does. And evolution throws just as much light on the ethical and social struggle today; and it is the only theory that does. What a strange age ours is from the religious point of view! What a hopeless age from the philosopher's point of view! Yet it is a very good age, the best that ever was. No evolutionist is a pessimist.
 * The Human Origin of Morals (1926), p. 59.

 * I once met a pompous ass of a believer who had this religious-sense theory in an exaggerated degree. It is not at all my custom to obtrude the question of religion in conversation, but somebody maliciously tried to draw the man into debate about God with me. He would say nothing but, with comic solemnity: "I know there is a God." He would not explain further, but his meaning was clear. He felt it. He sensed it. And there is but one possible form in which he could have given precise expression to his actual experience. He was visibly annoyed, but still silent, when I put it. It is: "I have a strong conviction that God exists."
 * The Psychology of Religion (1927), p. 42.

 * If a single one of these gentlemen is correct, if a believer of any type is right, the essential truth for man, the real drama of life, in comparison with which the secular story of the race, is a puppet-show and the unfolding of the universe is a triviality, is the dialogue of the immortal soul and the eternal God. Yet it seems that there is nothing in the world so hard to discover as this. The theory refutes itself.
 * The Psychology of Religion (1927), p. 47.

 * An idea or institution may arise for one reason and be maintained for quite a different reason.
 * The Psychology of Religion (1927), p. 48.

 * Today we know not only that there is a terrible amount of disorder in the heavens — great catastrophes or conflagrations occur frequently — but evolution gives us a perfectly natural explanation of such order as there is. No distinguished astronomer now traces "the finger of God" in the heavens; and astronomers ought to know best.
 * The Story of Religious Controversy (1929), p. 86.

 * Any body of men who believe in hell will persecute whenever they have the power.
 * What Gods Cost Man (1933).

 * The absence of theistic belief...
 * Defining the word "atheism", in A Rationalist Encyclopedia (1950).

title: Joseph McCabe


text:
Colley Cibber

Colley Cibber (June 11, 1671 – November 12, 1757) was an English actor, playwright, Poet Laureate, first British actor-manager, and head Dunce of Alexander Pope's Dunciad.

Quotes

 * As good be out of the world as out of the fashion.
 * Love's Last Shift, Act II (1696).

 * Prithee don’t screw your wit beyond the compass of good manners.
 * Love's Last Shift, Act II, sc. i (1696).

 * We shall find no fiend in hell can match the fury of a disappointed woman,—scorned, slighted, dismissed without a parting pang.
 * Love's Last Shift, Act IV (1696). Compare: "Heav'n has no Rage, like Love to Hatred turn'd, Nor Hell a Fury, like a Woman scorn'd", William Congreve, The Mourning Bride (1697), Act III, scene viii (often paraphrased: "Hell hath no fury like a woman scorned").

 * Possession is eleven points in the law.
 * Woman's Wit, Act I (1697).

 * Words are but empty thanks.
 * Woman's Wit, Act V (1697).

 * Our hours in love have wings; in absence, crutches.
 * Xerxes, Act IV, sc. iii (1699).

 * This business will never hold water.
 * She Wou'd and She Wou'd Not, Act IV (1703).

 * I don't see it.
 * The Careless Husband (1704), Act ii, scene 2.

 * Old houses mended, Cost little less than new before they're ended.
 * The Double Gallant, prologue (1707).

 * Oh, how many torments lie in the small circle of a wedding ring!
 * The Double Gallant, Act I, sc. ii (1707).

 * Tea! Thou soft, thou sober, sage, and venerable liquid, thou innocent pretence for bringing the wicked of both sexes together in a morning; thou female tongue-running, smile-smoothing, heart- opening, wink-tipping cordial, to whose glorious insipidity I owe the happiest moment of my life, let me fall prostrate thus, and … adore thee.
 * The Lady's Last Stake (1707), Act I, sc. i.

 * O say what is this thing call'd Light, Which I must ne'er enjoy
 * The Blind Boy (l. 1-2).

 * Then let not what I cannot have My cheer of mind destroy. Whilst thus I sing, I am a king, Although a poor blind boy!
 * The Blind Boy (l. 17-20).

 * Persuasion tips his tongue whene'er he talks, And he has chambers in King's Bench walks.
 * A parody on Pope's lines: "Graced as thou art with all the power of words, / So known, so honoured at the House of Lords"; reported in Bartlett's Familiar Quotations, 10th ed. (1919).

Richard III (altered) (1700)

 * So mourn'd the dame of Ephesus her love, And thus the soldier arm'd with resolution Told his soft tale, and was a thriving wooer.
 * Act II, scene 1.

 * Now, by St. Paul, the work goes bravely on.
 * Act III, scene 1.

 * The aspiring youth that fired the Ephesian dome Outlives in fame the pious fool that rais'd it.
 * Act III, scene 1. Similar thought by Sir Thomas Browne.

 * I 've lately had two spiders Crawling upon my startled hopes. Now though thy friendly hand has brush'd 'em from me, Yet still they crawl offensive to my eyes: I would have some kind friend to tread upon 'em.
 * Act IV, scene 3.

 * Off with his head—; so much for Buckingham.
 * Act IV, scene 3.

 * And the ripe harvest of the new-mown hay Gives it a sweet and wholesome odour.
 * Act V, scene 3.

 * With clink of hammers closing rivets up.
 * Act V, scene 3. Similar thought in William Shakespeare, King Henry V.

 * Perish that thought! No, never be it said That Fate itself could awe the soul of Richard. Hence, babbling dreams! you threaten here in vain! Conscience, avaunt! Richard ’s himself again! Hark! the shrill trumpet sounds to horse! away! My soul ’s in arms, and eager for the fray.
 * Act V, scene 3.

 * A weak invention of the enemy.
 * Act V, scene 3. Similar thought in William Shakespeare, King Richard III.

The Rival Fools (1709)

 * Losers must have leave to speak.
 * Act I.

 * Stolen sweets are best.
 * Act I.
 * Confer Leigh Hunt: "Stolen sweets are always sweeter..."

 * The will for the deed.
 * Act III.

 * Within one of her.
 * Act V.

title: Colley Cibber


text:
User talk:82.1.177.235

~ Kalki 23:23, 20 February 2006 (UTC)

title: User talk:82.1.177.235


text:
Pierre Mendès-France

Pierre Mendès-France (11 January 1907 – 18 October 1982) was a French politician who served as France's Prime Minister from 1954 until 1955.

Quotes

 * To govern is to choose.
 * Quoted in Ronald Tiersky, "François Mitterrand: A Very French President" (2003) Page 85

title: Pierre Mendès-France


text:
King Kong (2005 film)

King Kong is a 2005 film and a remake of the 1933 classic and 1976 remake of the same name. It concerns an amoral filmmaker who, along with a beautiful vaudeville actress and the crew of a tramp steamer, seeks out a deserted, mythical island to shoot his next picture. The island proves to be far from a lush vacation in the tropics. Instead, Carl and his team are manhandled by savage natives, monstrous bugs and bats, dinosaurs, and a giant ape called Kong, who develops an attachment to the leading lady. This leads to tragedy when Kong is captured and brought to New York City, where he wreaks havoc in an effort to find her.
 * Directed by Peter Jackson. Written by Peter Jackson, Fran Walsh, and Phillipa Boyens.
 * See also: King Kong, King Kong (1933 film), & King Kong (1976 film).

Ann Darrow

 * I make people laugh, that's what I do. Good luck with your picture.
 * That's all there is. There isn't any more.
 * Good things never last, Mr. Denham.
 * It's me he wants!
 * (The Ocean Hop on screen) Thanks for that.

Carl Denham

 * What are they going to do, sue me? They can get in line! I'm not gonna let 'em kill my film!
 * There's still some mystery left in this world, and we can all have a piece of it. For the price of an admission ticket.
 * [after escaping angry studio executives] Don't worry, Preston, I've had a lot of practice at this. I'm real good at crappin' the crappers.
 * He was a king in the world he knew, but he comes to you now a captive. Ladies and gentlemen, I give you Kong, THE EIGHTH WONDER OF THE WORLD!
 * And lo, the beast looked upon the face of beauty, and beauty stayed his hand. And from that day forward, he was as one dead.
 * Goddammit, Preston, all you had to do was look her in the eye and lie!
 * Sorry, fellas, you're gonna have to do better than that. Monsters belong in B movies.
 * Defeat is always momentary.
 * Just as you go down for the third and final time, as your head disappears beneath the waves, and your lungs fill with water, do you know what happens in those last precious seconds before you drown? Your whole life passes before your eyes...and if you've lived as a true American...you get to watch it all in color.
 * [to self] The whole world will pay to see this. [to the crew] We're millionaires, boys! I'll share it with all of you. In a few months, his name will be up in lights on Broadway! Kong: The Eighth Wonder of the World!
 * It wasn't the airplanes. It was Beauty killed the Beast.

Jack Driscoll

 * I'm writing it for you.
 * Why would I write a play just for you?
 * Isn't it obvious?
 * Well...it's in subtext.
 * It not about words.
 * Stop, please! Stop! We have to turn back! They've taken Ann!
 * [noticing the disturbing effigy of Kong on Carl's map] What is that?
 * That's the thing you come to learn about Carl. His unfailing ability to destroy the things he loves.
 * Actors. They travel the world, but all they ever see is a mirror.

Captain Englehorn

 * [Jack has to sleep in a cage where animals have been kept] So what are you, Mr. Driscoll? A lion...or a chimpanzee?
 * We're leaving, and I want you off my ship.
 * [after saving Carl and the others from the vicious Skull Islanders] Seen enough?
 * [to Carl, whom he has just saved from a slimy demise in the insect pit] That's the thing about cockroaches. No matter how many times you flush them down the toilet, they always crawl back up the bowl.

Jimmy

 * [to Hayes, after being told to run if they encounter any danger] I'm not a coward. I ain't gonna run.
 * [referring to Heart of Darkness] It's not an adventure story. Is it, Mr. Hayes?
 * Adventures on a tramp steamer, just like us!

Lumpy

 * [at the killing ground, where the hundreds of Kong's victims have been left to rot] Christ, it's a bleedin' boneyard! They've been ripped limb from limb!
 * There's only one creature capable of leaving a footprint that size... the Abominable Snowman.
 * [Hayes does a headcount for how many sailors are injured] Injured? Four of us are DEAD!

Dialogue

 * Zelman: [upon receiving word that Carl Denham has hired a ship to get to a location for his picture] What location, Carl?! You're supposed to be shooting on the back lot!
 * Carl Denham: Yes, I understand that, but fellas, we're not making that film anymore. And I'll tell you why. The story has changed. The script has been rewritten. Life...intervened. I've come into possession of a map. The sole surviving record of an uncharted island. A place that was thought to exist only in myth. Until now...
 * Zelman: Whoa, Carl, slow down.
 * Sleazy Studio Guy: Is he asking for more money?
 * Thuggish Studio Guy: He's asking us to fund a wild goose chase.
 * Carl Denham: I'm talking about a primitive world, never before seen by man. The ruins of an entire civilization. The most spectacular thing you've ever seen. That's where I'll shoot my picture.
 * [After a moment's silence]
 * Sleazy Studio Guy: Will there be boobies?
 * Carl Denham: [incredulous] Boobies?
 * Sleazy Studio Guy: Jigglies. Jiblonkas. Bazooms. In my experience, people only go to these films to observe the undraped form of the native girls.
 * Carl Denham: What are you, an idiot? You think they asked DeMille if he would waste his time on nudie shots? No! They respected the filmmaker! They showed some class! Not that you'd know what that means, you cheap lowlife! God...
 * Zelman: Would you step out for a moment, Carl?
 * Carl Denham: [leaves the room and points to a glass of water] Gimme that!
 * Preston: You won't like it. It's non-alcoholic.
 * Carl Denham: [emptying the water into a plant pot] Preston, you have a lot to learn about the motion picture business. [he presses the glass against the door and listens intently]
 * Zelman: Don't get me wrong. Carl Denham's made some interesting pictures. He's had a lot of... near success.
 * Thuggish Studio Guy: He's a preening self-promoter. Washed up, no talent. The guy's got "loser" written all over him.
 * Zelman: Look, I know his project isn't working out as well as we planned, but--
 * Thuggish Studio Guy: This jumped-up little turd's gonna bankrupt us!
 * Zelman: The animal footage has value.
 * Sleazy Studio Guy: Sure! Universal are desperate for stock footage!
 * Thuggish Studio Guy: Then sell it! Scrap the picture!
 * Zelman: [sighs] Get him back in.
 * Zelman's Assistant: Mr...Denham?
 * [Carl and Preston have disappeared from the waiting room]

 * Carl Denham: Fay's a size 4.
 * Preston: Yes, she is, but she's doing a picture with RKO.
 * Carl Denham: [bitter and defeated] Cooper, huh? I might've known.

 * [Ann is eating from a full plate, trying to disguise her hunger. Denham walks over carrying a cup of coffee]
 * Carl Denham: Vaudeville, huh? I worked Vaudeville once. That is a tough audience. If you don't kill 'em fast, they kill you-
 * Ann Darrow: Mr. Denham. I want you to know that I'm not in the habit of accepting charity from strangers, or for that matter...taking things that don't belong to me.
 * Carl Denham: It was obviously a terrible misunderstanding.
 * Ann Darrow: It's just that I haven't been paid in a while-
 * Carl Denham: [mock sincerity] That's awful. Anyway, Ann. May I call you Ann? You wouldn't happen to be a size 4 by any chance? [Ann pauses mid way through a mouthful of food, her appetite suddenly draining away. She abruptly stands] No, no, no, no. Oh God, no! You've got me all wrong. Miss Darrow, please! I'm not that type of person at all!
 * Ann Darrow: What type of person are you?
 * Carl Denham: I'm someone you can trust, Ann. I'm a movie producer. [sincere] Believe me, I am on the level. No funny business. Please, sit down. Please...please. [Ann hesitates a moment before sitting down once again] Okay. [pitching the film] Ann, I want you to imagine a handsome explorer bound for the Far East.
 * Ann Darrow: You're filming in the Far East?
 * Carl Denham: [looking her in the eye and lying] Singapore. On board ship he meets a mysterious girl. She's beautiful, she's fragile. Haunted. [Ann looks up...caught by the tale Denham is weaving] And she can't escape the feeling that forces beyond her control are compelling her down a road, from which she cannot draw back. It's as if her whole life has been a prelude to this moment; this fateful meeting...that changes everything. And sure enough, against her better judgement...
 * Ann Darrow: She falls in love.
 * Carl Denham: Yes!
 * Ann Darrow: But she doesn't trust it. She's not even sure if she believes in love.
 * Carl Denham: Uh...really?
 * Ann Darrow: If she loves someone...it's doomed.
 * Carl Denham: Why is that?
 * Ann Darrow: Good things never last, Mr. Denham.
 * Carl Denham: So you're interested? [hurriedly gathering up his hat and coat] Good. That's settled then. Now, I don't wanna rush you, but we are under some time pressure.
 * Ann Darrow: Well, I really-
 * Carl Denham: Ann, I'm telling you. You're perfect - look at you! You're the saddest girl I've ever met. You're gonna make 'em weep, Ann. You're gonna break their hearts!
 * Ann Darrow: See, that's where you're wrong, Mr. Denham. I make people laugh, that's what I do. [suddenly stands] Good luck with your picture.
 * Carl Denham: [follows Ann to the door; growing desperation] Ann! Miss Darrow, please! I'm offering you money, adventure, fame, the thrill of a lifetime and a long sea voyage! You wanna read a script? Jack Driscoll's turning in a draft as we speak.
 * Ann Darrow: Jack Driscoll?
 * Carl Denham: Sure, why? Wait. You know him?
 * Ann Darrow: No, not personally. I've seen his plays.
 * Carl Denham: [sensing her in interest, starts getting excited] What a writer, huh? And let me tell you, Ann...Jack Driscoll does not want just anyone starring in this picture. He said to me, "Carl...somewhere out there is a woman born to play this role". [quiet realization] And as soon as I saw you, I knew.
 * Ann Darrow: [uneasy] Knew what?
 * Carl Denham: It was always going to be you.

 * Choy: This room very comfortable. Plenty dim light, fresh straw.
 * Jack Driscoll: What do you keep down here?
 * Choy: Lion, tiger, hippo, you name it.
 * Jack Driscoll: You sell 'em to zoos?
 * Choy: Zoo, circus. Skipper get big money for rare animal. [Jack steps in a steaming pile of camel dung] Careful! Camel have bad accident on floor. Stain unremovable.

 * [Carl is discussing the rest of the script with Jack as he is typing on a typewriter]
 * Carl Denham: She's standing at the railing. She doesn't know it yet...but they are sailing towards disaster. You got that?
 * Jack Driscoll: Okay, so she turns...the first mate is staggering towards her. There's a knife sticking out of his back.
 * Carl Denham: Wait a sec. We're killing off the first mate?
 * Jack Driscoll: That's assuming she knows who the first mate is.
 * Carl Denham: Come on, Jack. It was an honest mistake. Ann is nearsighted. It could have happened to anyone.
 * Jack Driscoll: I was joking, Carl.
 * Carl Denham: The point is she's horrified. She has to look away. And that's when she sees it.
 * Jack Driscoll: Sees what? What?
 * Carl Denham: [intensely] The island.
 * Jack Driscoll: We're filming on an island now? When did this happen?
 * Carl Denham: [shushing] Jack, keep your voice down. I don't want the crew getting spooked.
 * Jack Driscoll: Why would they get spooked? What's it called?
 * Carl Denham: All right. It has a local name...but I'm warning you, Jack, it doesn't sound good. [whispering] They call it Skull Island. Did you get that?
 * Jack Driscoll: What's wrong with this place?
 * Carl Denham: There's nothing officially wrong with it. Because, technically, it hasn't been discovered yet.
 * Jack Driscoll: [to himself] Okay. All right. So we arrive at this place. [he begins to type it out, saying the letters out loud as he does] S..K..U..L..L..Island.
 * [Carl turns to see Jimmy has overheard the whole thing]

 * Bruce Baxter: What do you think, Driscoll? Dialogue's got some flow now, huh?
 * Jack Driscoll: It was pure effluence.
 * Bruce Baxter: I beefed up the banter.
 * Jack Driscoll: Try to resist that impulse.
 * Bruce Baxter: It's just a little bit of humor, bud. What are you, a Bolshevik or something? [leaves]
 * Jack Driscoll: [to himself] Actors. Travel the world, but all they ever see is a mirror.

 * Mr. Hayes: If someone were to tell you this ship was headed for Singapore...what would you say?
 * Lumpy: I would say they're full of it, Mr. Hayes. Well, we turned southwest last night.
 * Carl Denham: Gentlemen, please. We're not looking for trouble.
 * Jimmy: No. You're looking for something else.
 * Carl Denham: Yes, we are. We're going to find Skull Island. Find it, film it, show it to the world. For 25 cents, you get to see the last blank space on the map.
 * Lumpy: I wouldn't be so sure of that.
 * Preston: What do you mean?
 * Lumpy: Seven years ago, me and Mr. Hayes were working our passage... on a Norwegian bark.
 * Mr. Hayes: We picked up a castaway. We found him in the water. He'd been drifting for days.
 * Lumpy: His ship had run aground on an island way west of Sumatra. An island hidden in fog. He spoke of a huge wall...built so long ago...no one knew who'd made it. A wall 100 foot high...as strong today as it was ages ago.
 * Preston: Why'd they build the wall?
 * Lumpy: Well, the castaway, he spoke of a creature...neither beast nor man...but something monstrous, living behind that wall.
 * Carl Denham: [unimpressed] A lion or a tiger. A man-eater. That's how all these stories start.
 * Preston: What else did he say?
 * Lumpy: Nothing. When we found him the next morning, he'd stuck a knife through his heart.
 * Carl Denham: [laughing] Mmm-hmm. Sorry, fellows. You'll have to do better than that. Monsters belong in B movies.
 * Mr. Hayes: If you find this place...if you go ashore with your friends and your cameras...you won't come back. Just as long as you understand that.

 * Carl Denham: [while filming a herd of Brontosaurs] Walk forward, Bruce.
 * Bruce Baxter: What?!
 * Carl Denham: You're the star of this picture, now get into character and head toward the animals!
 * Bruce Baxter: Are you sure about this, Denham? Don't we have a stand-in for this type of thing?
 * Carl Denham: I need you in the shot or people will say they're fake.
 * Bruce Baxter: Oh, nobody's gonna think these are fake!

 * Carl Denham: [after Englehorn turns the ship away from Denham's course] One more week. That's all I'm asking. Please. I haven't got a film yet. I've risked everything I have on this trip.
 * Captain Engelhorn: No, Denham. You've risked everything I have.
 * Carl Denham: What do you want? Tell me what you want, I'll give you anything!
 * Captain Engelhorn: I want you off my ship.

 * Carl Denham: [contemplating his arrest] I'm finished.
 * Jack Driscoll: How did you think this would end, Carl?
 * [In the cabin, the ship's compass spins wildly and points in all directions]
 * Captain Englehorn: Check our position. Use the stars.
 * [Hayes exits the bridge with a sextant and returns almost immediately.]
 * Hayes: There are no stars, captain.
 * Jack Driscoll: [examining the map] What is that?
 * Carl Denham: What?
 * Jack Driscoll: That, right there.
 * Carl Denham: [sarcastically] I don't know. What is it, a coffee stain? [looks at the map and sees the disturbing effigy of Kong]

 * Hayes: [recognizing Jimmy, he confiscates the gun] Jesus, Jimmy!
 * Jimmy: Hey, I need that!
 * Hayes: I'm not giving you a gun!
 * Jimmy: You were younger than me when they gave you one!
 * Hayes: I was in the army. I was trained. I had a drill sergeant!
 * Jimmy: I wanna help bring her back.
 * Hayes: [haltingly giving him the gun] Don't make me regret it.

 * Jack Driscoll: I always knew you were nothing like the tough guy on the screen. I just never figured you for a coward.
 * Bruce Baxter: Hey, pal. Hey, wake up. Heroes don't look like me, not in the real world. In the real world they got bad teeth, a bald spot and a beer gut. I'm just an actor with a gun, who's lost his motivation. Be seein' ya.

 * [The boat is leaving the dock, and Carl has forced Jack to accompany him because he hasn't finished the script]
 * Jack Driscoll: God damn it!
 * Carl Denham: I keep telling you, Jack. There's no money in theatre. That's why you should stick with film.
 * Jack Driscoll: No, Carl, it's not about the money. I love theatre.
 * Carl Denham: No you don't. If you really loved it, you would've jumped.

 * Carl Denham: I'll give you another thousand if you leave right now.
 * Captain Englehorn: You haven't given me the first thousand yet.
 * Carl Denham: I'll make it worth your while...
 * Captain Englehorn: There's nothing out there.
 * Carl Denham: Then you've nothing to lose.

 * Carl Denham: $2000 is the deal. Will you take a check?
 * Captain Englehorn: Do I have a choice?

 * [They pull them out of the insect pit]
 * Carl Denham: Thank God.
 * Captain Engelhorn: Don't thank God. Thank Mr. Baxter. He insisted on a rescue mission. Me? I knew you'd be okay. That's the thing about cockroaches. No matter how many times you flush them down the toilet... they always crawl back up the bowl.
 * Carl Denham: Hey, buddy? I'm out of the bowl. I'm dryin' off my wings and treckin' across the lid.
 * [They see Jack climbing out to the other side of the pit, still determined to find Ann]
 * Captain Engelhorn: Driscoll! Don't be a fool! Give it up. It's useless! She's dead.
 * Carl Denham: She's not dead. Jack's gonna bring her back...and the ape will be hard on his heals. We can still come out of this thing okay. More than okay. Think about it. You got a boat full of chloroform we could put to good use.
 * Captain Engelhorn: You wanna trap the ape? [laughing] I don't think so.
 * Carl Denham: Isn't that what you do? Live animal capture? I heard you were the best.

 * Carl Denham: Ladies and Gentlemen...I'm here to tell you a very strange story. The story of our adventure...in which 17 of our party suffered horrible deaths...their lives lost...in pursuit of a savage beast...a monstrous aberration of nature. But even the meanest brute can be tamed. Yes, ladies and gentlemen, as you will see...the beast was no match...for the charms of a girl. A girl from New York...who melted his heart...bringing to mind that old Arabian proverb..."And lo, the beast looked upon the face of beauty...and beauty stayed his hand. And from that day forward, he was as one dead". And now ladies and gentlemen, I'm going to show you the greatest thing your eyes have ever beheld. He was a king in the world he knew, but he comes to you now a captive. Ladies and gentlemen...I give you Kong, The Eighth Wonder of the World!

 * Preston: He was right. About there still being some mystery left in this world...and we can all have a piece of it...for the price of an admission ticket.
 * Jack Driscoll: That's the thing you come to learn about Carl. His unfailing ability to destroy the things he loves.

 * Carl Denham: Bring the tripod and all of the film stock.
 * Herb: You wanna go to the six-inch lens?
 * Carl Denham: [considers the size of Kong, who he has just seen for the first time] Wide-angle will do just fine.

 * Jimmy: [Referring to "Heart of Darkness"] Why does Marlow keep going up the river? Why doesn't he turn back?
 * Hayes: There's a part of him that wants to Jimmy. A part deep inside himself that sounds a warning. But there's another part that needs to know. To defeat the thing which makes him afraid. "We could not understand because we were too far and could not remember because we were traveling in the night of first ages of those ages that are gone leaving hardly a sign, and no memories. We are accustomed to look upon the shackled form of a conquered monster, but there, there you could look at a thing monstrous and free".
 * Jimmy: It's not an adventure story, is it, Mr. Hayes?
 * Hayes: No, Jimmy. It's not.

 * [During Kong's broadway presentation and performance]
 * Carl Denham: Please remain calm ladies and gentlemen! We now come to the climax of this savage ritual. The sacrifice of a beautiful young girl. Behold her terror as she is offered to the Mighty Kong! Give a big hand folks, for the bravest girl I have ever met; Mrs. Ann Darrow!
 *  [The audience applauds wildly for Ann. As the reenactment of the sacrifice begins, a prop altar rises from a trapdoor in the stage carrying a blonde girl. The miserable and homesick Kong suddenly stands bolt upright. Growing desperate and hopeful, he thinks it might Ann. However, the spotlight shines on her revealing that it's just an actress playing the role of Ann. Kong is shocked and angered]
 * Actress: [screams, pretending to be scared] Save me from the beast! [Kong roars in rage! Everyone in the auditorium gasps in shock. The audience wildly applauds and laughs in amazement. The music for the scene begins; acting] Help me!
 * Jack: [realizing this is not Ann] Where is she? Where's Ann?
 * Preston: I have no idea. I heard he offered her all kinds of money and she turned him down flat.
 * [Scene switches, revealing that the real Ann is in another theater close by, practicing a dance number with her ensemble. However, she has regret in her eyes. She can't stop thinking about Kong, enslaved and miserable. She knows she needs to help him. Back at the theater, Kong is still in a rage over the actress and everything that has happened to him since his capture. Backstage, Carl Denham and Bruce Baxter pose for a group of reporters]
 * Carl Denham: Here's your story boys! "Beauty...and the man who saved her from the beast!"
 * [The reporters begin to take pictures. Kong roars as the flashbulbs blind his eyes, frightening and enraging the mighty ape]
 * Jack: [Seeing Kong's mounting anger] Oh no... [Kong begins to roar louder and thrashes around on the stage, still chained up. The actress begins to genuinely scream as Kong grows more and more violent. Jack whispers to Preston] We have to get these people out of here. [talking to the some of audience members sitting down] Everyone needs to leave! Okay? Come on!
 * Carl Denham: [hearing Kong's roars] Let him roar! It makes a swell picture. [Laughs]
 * Jack: [still trying to convince people to calmly evacuate] Head for the exits!
 * Theater Patron: Get your own seat buddy! You're not having mine.
 * [Kong's roars grow louder and he begins to tug on his chains. The audience begins to grow nervous and worried]
 * Bruce Baxter: [seeing Kong's mounting anger, Bruce begins to calmly head towards the backstage exit through the group of reporters] Excuse me fellows. Coming through! Coming through fellas!
 * [Baxter leaves at the right time. On stage, Kong has reached his breaking point after all that has happened to him as flashes continue to blind his face. Furious, he tugs on his chains so hard, one of his giant wrist cuffs breaks. The audience screams! Denham and the reporters gasp in terror. A few members of the audience rise from their seats]
 * Actress: [genuinely screaming for help] Somebody!! SOMEBODY HELP ME!!!
 * [Kong lets out one of his loudest roars at the crowd. The audience screams just as loud as Kong's roars and mass panic ensues as all of the theater patrons begin to stampede for the doors]
 * Preston: ''[holds one of the doors open for the panicking patrons] GO! GO! GET OUT!!!!
 * [As the actors flee for their lives, Kong violently grabs the actress from the prop altar with his free arm]
 * Jack: [To the patrons] Go! Go!
 * [In blind rage Kong throws the actress clear across the theater! Denham looks on in horror at the sight. The music stops abruptly as the terrified band and conductor throw their instruments aside and flee along with the hysterical crowd. At the same time Kong rips one of his other manacled hands free! He leaps up from the stage, breaking the remaining restraints freeing himself completely. The enraged animal lands into the auditorium and begins destroying it, attacking the panicking crowd, killing several theater goers]

 * [Last lines]
 * [All of the news photographers and nearby peoples gather to see the fallen King Kong in front of the Empire State Building]
 * Photographer 1: Why'd he do that? Climb up there and get himself cornered? The ape must have known what was coming.
 * Photographer 2: He's just a dumb animal. Didn't know nothing. [Carl Denham comes barging through the crowd to see what has become of his beast] What does it matter? Airplanes got him.
 * Carl Denham: It wasn't the airplanes. It was Beauty killed the Beast.

About

 * Bates: All three "King Kongs"--the classic 1933 version starring Fay Wray, the campy 1976 version starring Jessica Lange and the current epic by "Lord of the Rings" director Peter Jackson--feature a big, black ape who falls in love with a willowy white woman. The unspoken fear about black-white sexual relations has been remarked on by film historians and cultural critics ever since. The 1933 original stoked anxieties about black male hypersexuality. Kong snatches Ann Darrow up and makes off with her as she screams in horror. And the film's supposedly African natives--who offer the heroine up to the giant ape--came from what some critics called the ooga-booga(ph) school of thespian arts. Newsday columnist Jim Pinkerton says the 2005 "Kong", starring a dewy, blond Naomi Watts, shows the story line hasn't evolved all that much.
 * Mr. Jim Pinkerton (Newsday): And for this movie to have been made in 1933 about white people going over to the Third World to capture a large, black being with a flat nose and bring him back in chains was sort of powerful then. And I was sort of surprised to see it getting remade, if anything, more politically incorrectly, in 2005.
 * Bates: Pinkerton is referring to the current film's depiction of the residents of Skull Island, the creepy place where the on-screen director Carl Denham, played by "School of Rock's" Jack Black, goes to shoot his movie. But filming plans are disrupted by multipierced, dark-skinned aboriginal people who are depicted as violent, eyeball-rolling, foaming-at-the-mouth attackers.

 * Bates: Moving the film's location from Africa to the south sea islands doesn't remove the stigma visited upon the native people depicted in it, says Newsday's Jim Pinkerton. He says even subliminal messages in movies are important.
 * Karen Grisby Bates, "Race and 'King Kong'", NPR, (December 22, 2005).

 * There are astonishments to behold in Peter Jackson's new "King Kong", but one sequence, relatively subdued, holds the key to the movie's success. Kong has captured Ann Darrow and carried her to his perch high on the mountain. He puts her down, not roughly, and then begins to roar, bare his teeth and pound his chest. Ann, an unemployed vaudeville acrobat, somehow instinctively knows that the gorilla is not threatening her but trying to impress her by behaving as an alpha male -- the King of the Jungle. She doesn't know how Queen Kong would respond, but she does what she can: She goes into her stage routine, doing backflips, dancing like Chaplin, juggling three stones. Her instincts and empathy serve her well. Kong's eyes widen in curiosity, wonder and finally what may pass for delight. From then on, he thinks of himself as the girl's possessor and protector. She is like a tiny beautiful toy that he has been given for his very own, and before long, they are regarding the sunset together, both of them silenced by its majesty. The scene is crucial because it removes the element of creepiness in the gorilla/girl relationship in the two earlier "Kongs" (1933 and 1976), creating a wordless bond that allows her to trust him. When Jack Driscoll climbs the mountain to rescue her, he finds her comfortably nestled in Kong's big palm.
 * Although Naomi Watts makes a splendid heroine, there have been complaints that Jack Black and Adrien Brody are not precisely hero material. Nor should they be, in my opinion. They are a director and a writer. They do not require big muscles and square jaws. What they require are strong personalities that can be transformed under stress. Denham the director clings desperately to his camera, no matter what happens to him, and Driscoll the writer beats a strategic retreat before essentially rewriting his personal role in his own mind. Bruce Baxter (Kyle Chandler) is an actor who plays the movie's hero, and now has to decide if he can play his role for real. And Preston (Colin Hanks) is a production assistant who, as is often the case, would be a hero if anybody would give him a chance. The result is a surprisingly involving and rather beautiful movie -- one that will appeal strongly to the primary action audience, and also cross over to people who have no plans to see "King Kong" but will change their minds the more they hear. I think the film even has a message, and it isn't that beauty killed the beast. It's that we feel threatened by beauty, especially when it overwhelms us, and we pay a terrible price when we try to deny its essential nature and turn it into a product, or a target. This is one of the year's best films.
 * Roger Ebert, "King Kong", Rogerebert.com, (Dec 12, 2005).
 * Q. I heard you actually referred back to the original's storyboards?
 * A. Well there's actually a story to that. Warner Bros have just released a beautifully restored version of King Kong on DVD in the US. While we were making our King Kong, we also got our visual effects technicians to build stop-motion animation spiders and crabs and octopus creatures, copying photos that we had from the original film. We re-created the spider scene using stop-motion animation, black and white film, travelling mattes, rear projection – all the old techniques – so that we provided a speculation on what that original spider scene could be like. So when they released this DVD about three weeks ago we had this separate little chapter that we were involved in where we recreated the 1933 spider scene which we almost did concurrently when we were filming our own one. It was a little bit insane for a while!
 * Q. You play up the 'Beauty & Beast' relationship in the film. Was that deliberate?
 * A. It was not so much deliberate going in, but the relationships between Ann Darrow in the original movie and Jessica Lange in the second film and what Naomi does now – they're actually three different relationships. It's the same story, but three different types of things going on. Certainly with Fay and her character it was a case of an unwilling kidnap victim. She never really felt comfortable being with Kong, was always terrified of him and always screaming. There was never really a sense, in the original movie, that she really connected or understood Kong. The Jessica Lange one was kind of a weird 70s sexual innuendo. They camped up the sexuality of it more than anything, which we didn't want to do. So we created our one with a foot in neither camp, really. To me, the most interesting thing about a story like King Kong when you're thinking about it at the beginning, writing it before anything has really happened, the most interesting doorway to go through is the reality door. It's to say 'okay, if you were on this island and you got kidnapped by this gorilla who is intent on killing you, how would you actually respond?'. There's not a lot you can do. You're in his hand, you can't get out, your options are very few. How would you feel, and what would you do if a little window of opportunity came up where you may be able to survive – it's not even surviving, it's staying in his hand. If you can keep him curious, if you can engage him on some level, that stops you getting squashed then you've got a little, minute opportunity of staying alive that you can work on and develop that. Then you can flip that around, because the other interesting thing is if you're a gorilla who has lived his entire life on this island, lonely, he has no parents, they've probably been killed by the dinosaurs, his siblings have been killed, he's the last one of his species, he's never empathised with a living creature, ever. His entire instincts are to kill and survive – to be the king of this jungle and to be the dominant species, which is what gorillas naturally want to be anyway. Then suddenly Ann Darrow comes into his life, who he's expecting to kill but doesn't, he starts to become curious. To me, the relationship develops from Kong's point of view to one where he wants to protect her. It's a dangerous relationship for anybody else – for Adrien's character or anyone else. It's like an animal protecting its child. In a way, Kong's relationship with Ann is like that. I love the complexity of the story of Kong. We obviously come to learn a little bit about Kong's heart. He's pure, unspoilt – he doesn't operate on the same moral values as humans do. It's instinctive. He does what his heart tells him to do and he feels this empathy and this curiosity towards Ann. But if anybody comes anywhere close to taking Ann away from him he will kill them. He will kill them very quickly. And that includes our guys that we've met and learnt are trying to save her. I love the complexity of that story. There's no villains, there's no monsters. It's actually just this quite interestingly complex story of people doing what they need to do to survive and Kong behaving in a way which is perfectly natural and normal. You can't judge him for it.
 * Peter Jackson, "Peter Jackson", Stephen Applebaum, BBC, (2005/12/09).

 * Perhaps as a consequence of the writers coming to this after three movies with their large Middle Earth ensemble (which included nine principal characters and plenty of supporting roles), the characters in King Kong are almost gratuitously well developed all around. The crew of the SS Venture is essentially made up of pulp archetypes, but unusually, they're all given enough screen time that they're not just Star Trek-style red shirts by the time they disembark on Skull Island.
 * Mark Harrison, "Looking back at Peter Jackson's King Kong", Den of Geek, (Jul 6, 2016).
 * Every movement in that film was about a human connecting with this huge beast who was one hundred per cent 'other'. Kong basically looks at Ann Darrow three times in that movie. It's all about the disconnect and him being this lonely, psychotic hobo who can't connect with other people.
 * Andy Serkis as quoted in "Andy Serkis interview: Rise of the Planet of the Apes,The Hobbit, Tintin and more", Mark Harrison, Den of Geek, (Jul 6, 2016).

Cast

 * Naomi Watts - Ann Darrow
 * Jack Black - Carl Denham
 * Adrien Brody - Jack Driscoll
 * Thomas Kretschmann - Captain Englehorn
 * Colin Hanks - Preston
 * Evan Parke - Hayes
 * Jamie Bell - Jimmy
 * Kyle Chandler - Bruce Baxter
 * Andy Serkis - Kong/Lumpy
 * Lobo Can - Choy
 * John Sumner - Herb the Cameraman
 * Craig Hall - Mike the Sound Recordist

title: King Kong (2005 film)


text:
User:MU

de:Benutzer:MU

title: User:MU


text:
The Bronx

The Bronx is New York City's northernmost borough. It is the only one of the city's five boroughs situated on the United States mainland rather than on an island. It was named for Jonas Bronck, a sea captain and resident of the mid-1600s.

Quotes

 * Ladies and Gentlemen, the Bronx Is Burning.
 * Jonathan Mahler, title of book

 * My name is Benny Blanco from the Bronx. - You know me?
 * Film Carlito's Way (1993)

 * I was raised in what is now the "jungle" of New York, the lower Bronx, and, indeed, at that time it was a very pleasant place. We played like all other kids. Where I lived was a very small enclave, a ghetto, but there were a number of ghettos. Most of the people there were immigrants; first generation Americans from Italy, Ireland, Poland, and there were a few French people. In a way, in a peculiar way, it was an integrated community composed of several separated ghettos. That was about the norm in those days. The idea of integration hadn't really gotten started, so I think that for anyone living today it would be a period that would be really difficult to understand...it was...in spite of some of the racism which I began to learn in school, a rather pleasant life.
 * Ollie Harrington Why I Left America and Other Essays (1993)

title: The Bronx


text:
Reies Tijerina

Reies López Tijerina (September 21, 1926 – January 19, 2015) was an American activist for the cause of Hispanic rights.

Sourced

 * I am not for separatism from the United States. My motto is justice but not independence from or revolution against the United States.
 * Quoted in Chicano Power: The Emergence of Mexican America by Tony Castro, ISBN 0841503214.

 * There is a powerful expression of our yearning. But now that we have the revolutionary spirit, we must not lose sight of the brotherhood awareness. Temper the revolutionary spirit. Culture identification is needed, but we must not let it lead us to hatred. We can become intoxicated and lose sight of our real goal to fully participate in the political system of the United States.
 * Quoted in Chicano Power: The Emergence of Mexican America by Tony Castro, ISBN 0841503214.

title: Reies Tijerina


text:
Wilfred Owen

Wilfred Edward Salter Owen (18 March 1893 – 4 November 1918) was a British poet and soldier. Regarded by many as the leading poet of the First World War, he was killed 7 days before it ended.

Quotes

 * '''This book is not about heroes. English poetry is not yet fit to speak of them. Nor is it about deeds, or lands, nor anything about glory, honour, might, majesty, dominion, or power, except War. Above all I am not concerned with Poetry. 'My subject is War, and the pity of War. The Poetry is in the pity. Yet these elegies are to this generation in no sense consolatory. They may be to the next. All a poet can do today is warn. That is why the true Poets must be truthful.
 * Draft for a preface to a collection of war poems he hoped to publish in 1919 (c. May 1918) and used in Poems of Wifred Owen (Memoir and notes).ed Edmund Blunden (1933).Chatto & Windus 1964.ASIN: B000GLY9CI

 * Oh, Death was never enemy of ours! We laughed at him, we leagued with him, old chum. No soldier's paid to kick against His powers. We laughed, — knowing that better men would come, And greater wars: when each proud fighter brags He wars on Death, for lives; not men, for flags.
 * "The Next War"

 * Tonight he noticed how the women's eyes Passed from him to the strong men that were whole.
 * Disabled

Dulce et Decorum Est (1917)

 * Full text online

 * Bent double like old beggars under sacks, Knock-kneed, coughing like hags, we cursed through sludge, Till on the haunting flares we turned our backs And towards our distant rest began to trudge.

 * Men marched asleep. Many had lost their boots But limped on, blood-shod.

 * Gas! GAS! Quick, boys! — An ecstasy of fumbling, Fitting the clumsy helmets just in time; But someone still was yelling out and stumbling, And flound'ring like a man in fire or lime... Dim, through the misty panes and thick green light, As under a green sea, I saw him drowning.

 * If in some smothering dreams you too could pace Behind the wagon that we flung him in, And watch the white eyes writhing in his face, His hanging face, like a devil's sick of sin; If you could hear, at every jolt, the blood Come gargling from the froth-corrupted lungs, Obscene as cancer, bitter as the cud Of vile, incurable sores on innocent tongues, — My friend, you would not tell with such high zest To children ardent for some desperate glory, The old Lie: Dulce et decorum est Pro patria mori.

Strange Meeting (1918)

 * "Strange friend," I said, "Here is no cause to mourn." "None," said the other, "Save the undone years, The hopelessness. Whatever hope is yours, Was my life also; I went hunting wild After the wildest beauty in the world, Which lies not calm in eyes, or braided hair, But mocks the steady running of the hour, And if it grieves, grieves richlier than here. For by my glee might many men have laughed, And of my weeping something has been left, Which must die now. I mean the truth untold, The pity of war, the pity war distilled. Now men will go content with what we spoiled. Or, discontent, boil bloody, and be spilled. They will be swift with swiftness of the tigress, None will break ranks, though nations trek from progress. Courage was mine, and I had mystery; Wisdom was mine, and I had mastery; To miss the march of this retreating world Into vain citadels that are not walled.

The Dead-Beat

 * He dropped, — more sullenly than wearily, Lay stupid like a cod, heavy like meat, And none of us could kick him to his feet; — Just blinked at my revolver, blearily; — Didn't appear to know a war was on, Or see the blasted trench at which he stared.

 * We sent him down at last, out of the way. Unwounded; — stout lad, too, before that strafe. Malingering? Stretcher-bearers winked, 'Not half!' Next day I heard the Doc.'s well-whiskied laugh: 'That scum you sent last night soon died. Hooray!'

Anthem for Doomed Youth

 * Full text online

 * What passing-bells for these who die as cattle? — Only the monstrous anger of the guns. Only the stuttering rifles' rapid rattle Can patter out their hasty orisons. No mockeries now for them; no prayers nor bells; Nor any voice of mourning save the choirs, — The shrill, demented choirs of wailing shells; And bugles calling for them from sad shires.

 * The pallor of girls' brows shall be their pall; Their flowers the tenderness of patient minds, And each slow dusk a drawing-down of blinds.

The Parable of the Old Man and the Young

 * So Abram rose, and clave the wood, and went, And took the fire with him, and a knife. And as they sojourned both of them together, Isaac the first-born spake and said, My Father, Behold the preparations, fire and iron, But where the lamb for this burnt-offering? Then Abram bound the youth with belts and straps, And builded parapets and trenches there, And stretchèd forth the knife to slay his son. When lo! an angel called him out of heaven, Saying, Lay not thy hand upon the lad, Neither do anything to him, thy son. Behold! Caught in a thicket by its horns, A Ram. Offer the Ram of Pride instead. But the old man would not so, but slew his son, And half the seed of Europe, one by one.

The End

 * After the blast of lightning from the east, The flourish of loud clouds, the Chariot Throne; After the drums of time have rolled and ceased, And by the bronze west long retreat is blown, Shall Life renew these bodies? Of a truth, All death will he annul, all tears assuage? — Or fill these void veins full again with youth, And wash, with an immortal water, age?

 * And when I hearken to the Earth, she saith: 'My fiery heart shrinks, aching. It is death. Mine ancient scars shall not be glorified, Nor my titanic tears, the seas, be dried.'

title: Wilfred Owen


text:
George Monbiot

George Joshua Richard Monbiot (born 27 January 1963) is a journalist, author, and environmental and political activist in the United Kingdom who writes a weekly column for The Guardian newspaper.

1999–2010

 * [I]f we truly value coral reefs, we must stop travelling around the world to see them, for long-haul flights are rapidly becoming one of the major sources of global warming. Why is it that tourism always seems condemned to destroy that which it most loves?
 * "Reef madness", The Guardian (26 June 1999).

 * To own a national newspaper or a television or radio station you need to be a multimillionaire. What multimillionaires want is what everybody wants: a better world for people like themselves. The job of their journalists is to make it happen. As Piers Morgan, the former editor of the Mirror, confessed, "I've made it a strict rule in life to ingratiate myself with billionaires." They will stay in their jobs for as long as they continue to interpret the interests of the proprietorial class correctly.
 * "Thanks to corporations, instead of democracy we get Baywatch", The Guardian (13 September 2005)

 * While there are many reasons for the growth of individualism in the UK, the extreme libertarianism now beginning to take hold here begins on the road. When you drive, society becomes an obstacle.
 * "The car is turning us into a nation of libertarians" The Guardian (20 December 2005), reprinted as "The Anti-Social Bastards in Our Midst" monbiot.com (20 December 2005)

In England and Wales there are 250,000 second homes. In England there are 221,000 people classed as single homeless or living in hostels or temporary accommodation. (These desperate cases comprise about 24% of those in need of social housing.) I am not arguing that if every underused house were turned back into a home the problem of acute homelessness would be solved. I am arguing that homelessness has been exacerbated by the government's failure to ensure that houses are used for living in.
 * If you travel to Worth Matravers - the chocolate-box village in Dorset in which 60% of the houses are owned by ghosts - you will not find hordes of homeless people camping on the pavements in cardboard boxes. The market does not work like that. Young people from the village, unable to buy locally, have moved away, and contributed to the housing pressure somewhere else. The impacts of the ghost market might be invisible to the purchasers, but this does not mean they aren't real. Second-home owners are perhaps the most selfish people in the United Kingdom.
 * "Second-home owners are among the most selfish people in Britain", The Guardian (23 May 2006)

 * No political challenge can be met by shopping.
 * "Ethical shopping is just another way of showing how rich you are" The Guardian (24 July 2007), reprinted as "Eco-junk" monbiot.com (24 July 2007)

The Age of Consent (2003)

 * Everything has been globalised, except our consent. Democracy alone has been confined to the nation state. It stands at the border, suitcase in hand, without a passport.
 * Our task is not to overthrow globalisation, but to capture it, and to use it as a vehicle for humanity’s first global democratic revolution.

Heat: How to Stop the Planet Burning (2006)

 * We are the most fortunate generation that has ever lived. And we are the most fortunate generation that ever will.
 * Nobody ever rioted for austerity. (p. 96)
 * Faced with a choice between the survival of the planet and a new set of matching tableware, most people would choose the tableware.

2011–2019

 * If wealth was the inevitable result of hard work and enterprise, every woman in Africa would be a millionaire.
 * "The Self-Attribution Fallacy" (7 November 2011).

 * [T]he most devoted member of her inner circle was Alan Greenspan, former head of the US Federal Reserve. Among the essays he wrote for Rand were those published in a book he co-edited with her called Capitalism: the Unknown Ideal. Here, starkly explained, you'll find the philosophy he brought into government. There is no need for the regulation of business – even builders or Big Pharma – he argued, as "the 'greed' of the businessman or, more appropriately, his profit-seeking … is the unexcelled protector of the consumer". As for bankers, their need to win the trust of their clients guarantees that they will act with honour and integrity. Unregulated capitalism, he maintains, is a "superlatively moral system".
 * "How Ayn Rand became the new right's version of Marx" The Guardian (5 March 2012)

 * People in eastern Congo are massacred to facilitate smart phone upgrades of ever diminishing marginal utility. Forests are felled to make “personalised heart shaped wooden cheese board sets”. Rivers are poisoned to manufacture talking fish. This is pathological consumption: a world-consuming epidemic of collective madness, rendered so normal by advertising and the media that we scarcely notice what has happened to us.
 * "The Gift of Death", The Guardian (11 December 2012).

 * [On the Intergovernmental Panel on Climate Change report from Working Group 1 of the IPCC Fifth Assessment Report] What the report describes, in its dry, meticulous language, is the collapse of the benign climate in which humans evolved and have prospered, and the loss of the conditions upon which many other lifeforms depend. Climate change and global warming are inadequate terms for what it reveals. The story it tells is of climate breakdown.
 * [T]he only effective means of preventing climate breakdown is to leave fossil fuels in the ground. Press any minister on this matter in private and, in one way or another, they will concede the point. Yet no government will act on it.
 * "Climate change? Try catastrophic climate breakdown", The Guardian (27 September 2013)

 * Before examining the wider picture, let's stick with the shooting theme for a moment, and take a look at the remarkable shape-shifting properties of that emblem of Downton Abbey Britain: the pheasant. Through a series of magnificent legal manoeuvres it can become whatever the nation's wealthy want it to be.
 * The pheasant's properties of metamorphosis should be a rich field of study for biologists: even the Greek myths mentioned no animal that mutated so often. In the treatment of pheasant and grouse shoots we see in microcosm what is happening in the country as a whole. Legally, fiscally and politically, the very rich are protected from the forces afflicting everyone else.
 * "This cash for grouse scandal shows how Britain has become a plutocrats' paradise", The Guardian (28 April 2014)

 * [About the :] By comparison to what it could have been, it’s a miracle. By comparison to what it should have been, it’s a disaster.
 * "Grand promises of Paris climate deal undermined by squalid retrenchments", The Guardian (12 December 2015).

 * Trump's [cabinet] appointments reflect what I call the Pollution Paradox. The more polluting a company is, the more money it must spend on politics to ensure it is not regulated out of existence. Campaign finance therefore comes to be dominated by dirty companies, ensuring that they wield the greatest influence, crowding out their cleaner rivals. Trump’s cabinet is stuffed with people who owe their political careers to filth.
 * "Donald Trump’s mission? To keep the US in the fossil age", The Guardian (19 January 2017)

 * While we call ourselves animal lovers, and lavish kindness on our dogs and cats, we inflict brutal deprivations on billions of animals that are just as capable of suffering. The hypocrisy is so rank that future generations will marvel at how we could have failed to see it.
 * "Goodbye – and good riddance – to livestock farming", The Guardian (4 October 2017).
 * [E]ight days after the Khan Shaykhun attack John Pilger, famous for exposing propaganda and lies, was interviewed on the website Consortium News. He praised [Theodore] Postol as "the distinguished MIT professor", suggested that the Syrian government could not have carried out the attack – as he claimed it had destroyed its chemical arsenal in 2014 – and maintained that jihadists in Khan Shaykhun "have been playing with nerve gases and sarin … for some years now. There’s no doubt about that." Despite many claims to the contrary, I have found no credible evidence that Syrian jihadists have access to sarin.
 * "A lesson from Syria: it's crucial not to fuel far-right conspiracy theories", The Guardian (15 November 2017)
 * See Use of chemical weapons in the Syrian civil war.

 * [A] kind of cult has developed around Noam Chomsky and John Pilger, which cannot believe they could ever be wrong, and produces ever more elaborate conspiracy theories to justify their mistakes.
 * Tweet (22 November 2017), as cited in Oz Katerji "The West's Leftist 'Intellectuals' Who Traffic in Genocide Denial, From Srebrenica to Syria", Haaretz (24 November 2017)

 * Economic growth is the aggregate effect of the quest to accumulate capital and extract profit. Capitalism collapses without growth, yet perpetual growth on a finite planet leads inexorably to environmental calamity.
 * "Dare to declare capitalism dead – before it takes us all down with it", The Guardian (25 April 2019).

 * Of all the varieties of media bias, the deepest is the bias against relevance. The more important the issue, the less it is discussed.
 * "Stop eating fish. It’s the only way to save the life in our seas", The Guardian (9 May 2019).

 * The power of consumerism is that it renders us powerless. It traps us within a narrow circle of decision-making, in which we mistake insignificant choices between different varieties of destruction for effective change. It is, we must admit, a brilliant con. It’s the system we need to change, rather than the products of the system. It is as citizens that we must act, rather than as consumers. [...] Only mass political disruption, out of which can be built new and more responsive democratic structures, can deliver the necessary transformation.
 * "The big polluters’ masterstroke was to blame the climate crisis on you and me", The Guardian (9 October 2019).

"The Earth is in a death spiral. It will take radical action to save us" (2018)

 * "The Earth is in a death spiral. It will take radical action to save us" The Guardian (14 November 2018).

 * [T]he Earth’s systems are highly complex, and complex systems do not respond to pressure in linear ways. When these systems interact (because the world’s atmosphere, oceans, land surface and lifeforms do not sit placidly within the boxes that make study more convenient), their reactions to change become highly unpredictable. Small perturbations can ramify wildly. Tipping points are likely to remain invisible until we have passed them. We could see changes of state so abrupt and profound that no continuity can be safely assumed. Only one of the many life support systems on which we depend – soils, aquifers, rainfall, ice, the pattern of winds and currents, pollinators, biological abundance and diversity – need fail for everything to slide.

It is not just governments that have failed to respond, though they have failed spectacularly. broadcasters have systematically shut down environmental coverage, while allowing the opaquely funded lobbyists that masquerade as thinktanks to shape public discourse and deny what we face. Academics, afraid to upset their funders and colleagues, have bitten their lips. Even the bodies that claim to be addressing our predicament remain locked within destructive frameworks.
 * The problem is political. [...] The oligarchic control of wealth, politics, media and public discourse explains the comprehensive institutional failure now pushing us towards disaster. Think of Donald Trump and his cabinet of multi-millionaires; the influence of the Koch brothers in funding rightwing organisations; the Murdoch empire and its massive contribution to climate science denial; or the oil and motor companies whose lobbying prevents a faster shift to new technologies.

 * Those to whom we look for solutions trundle on as if nothing has changed. As if the accumulating evidence has no purchase on their minds. Decades of institutional failure ensures that only "unrealistic" proposals – the repurposing of economic life, with immediate effect – now have a realistic chance of stopping the planetary death spiral. And only those who stand outside the failed institutions can lead this effort. Two tasks need to be performed simultaneously: throwing ourselves at the possibility of averting collapse, as Extinction Rebellion is doing, slight though this possibility may appear; and preparing ourselves for the likely failure of these efforts, terrifying as this prospect is. Both tasks require a complete revision of our relationship with the living planet.

 * Because we cannot save ourselves without contesting oligarchic control, the fight for democracy and justice and the fight against environmental breakdown are one and the same.

2020

 * There are two ways this could go. We could, as some people have done, double down on denial. Some of those who have dismissed other threats, such as climate breakdown, also seek to downplay the threat of Covid-19... Or this could be the moment when we begin to see ourselves, once more, as governed by biology and physics, and dependent on a habitable planet. Never again should we listen to the liars and the deniers. Never again should we allow a comforting falsehood to trounce a painful truth. No longer can we afford to be dominated by those who put money ahead of life...
 * "Covid-19 is nature's wake-up call to complacent civilisation", The Guardian (25 March 2020)

Capitalism has three innate characteristics that drive us towards destruction… firstly, that it generates and relies upon perpetual growth... (Second:)…the idea that our right to own natural wealth equates to the amount of money that we’ve got in the bank or we can borrow. So, you can take as much natural wealth away from other people as you like.... The third characteristic is the one that really ensures that people go along with capitalism, the idea that everyone can pursue — and can expect to find — private luxury.
 * Climate change requires the end of capitalism, full-stop. Capitalism has three innate characteristics that drive us towards destruction, and it doesn’t really matter what kind of capitalism it is, whether it’s Keynesian, whether it’s neo-liberal capitalism, whether it’s corporate capitalism, or whether it’s crony capitalism. The problem is not with the adjective, but with the noun.
 * "Munk Debates: Ending climate change requires the end of capitalism as we know it" National Post (Canada, 11 April 2020)
 * From the transcript of a podcast with Andrew McAfee.

 * During the pandemic, many of us have begun to discover how much of our travel is unnecessary. Governments can build on this to create plans for reducing the need to move, while investing in walking, cycling and – when physical distancing is less necessary – public transport. This means wider pavements, better cycle lanes, buses run for service not profit. They should invest heavily in green energy, and even more heavily in reducing energy demand – through, for example, home insulation and better heating and lighting. The pandemic exposes the need for better neighbourhood design, with less public space given to cars and more to people. It also shows how badly we need the kind of security that a lightly taxed, deregulated economy cannot deliver.
 * "Airlines and oil giants are on the brink. No government should offer them a lifeline" The Guardian (29 April 2020)

 * Let's have what many people were calling for long before this disaster hit: a green new deal. But please let’s stop describing it as a stimulus package. We have stimulated consumption too much over the past century, which is why we face environmental disaster. Let us call it a survival package, whose purpose is to provide incomes, distribute wealth and avoid catastrophe, without stoking perpetual economic growth. Bail out the people, not the corporations. Bail out the living world, not its destroyers. Let's not waste our second chance.
 * "Airlines and oil giants are on the brink. No government should offer them a lifeline" The Guardian (29 April 2020)

 * The bigger and more established an organisation becomes the more timid and conformist it seems to get, until it's almost indistinguishable from the interests it should be confronting. In this age of environmental crisis and collapse, of government lies and corporate power, we need our nature defenders to rise like lions after slumber. Instead, they queue at the abattoir gate like sedated lambs.
 * "How did wildlife groups start collaborating in the destruction of nature?", The Guardian (24 June 2020)

2022–2023

 * All of Earth’s systems are complex, which means they do not respond to change in linear and steady ways. They absorb stress up to a certain point, then suddenly collapse. If one goes down, it can trigger the collapse of others: during previous mass extinctions, collapse seems to have cascaded from one ecosystem and Earth system to the next.
 * "Earth is under threat, yet you would scarcely know it", The Guardian (28 September 2022)

 * [On COP27 held in Sharm El Sheikh, Egypt] The rich world's governments arrived at the conference in Egypt saying "it's now or never". They left saying "how about never?". We sail through every target and objective, red line and promised restraint towards a future in which the possibility of anyone’s existence starts to dwindle towards zero.
 * "Our leaders had a final chance to halt climate breakdown. They failed each and every one of us", The Guardian (18 November 2022)

 * If you are holding a virtual gun to someone's head, you need to know exactly what you are demanding and whether they can deliver it.
 * Our demands are – and have to be – more complex than any that have gone before.
 * Fascism has been famously described as "a counter-revolution against a revolution that never took place". You don't have to succeed in generating a new movement committed to a campaign of violence to create a monster much bigger than you are: a monster that will close down the last chance of saving Earth systems. If you are going to take a physical shot at capitalism, you had better not miss.
 * I cannot say that Malm is wrong, and that non-violent action is more likely to succeed. After all, none of us have been here before. But if you are pushing other people towards decades in prison while risking a backlash that would close down the last possibility of success, you need to be pretty confident that the strategy will work. I have no such confidence.
 * "I back saboteurs who have acted with courage and coherence, but I won't blow up a pipeline. Here's why" The Guardian (28 April 2023)
 * In the book How to Blow Up a Pipeline (Verso 2021), Andreas Malm argues violence and sabotage have been a fundamental element of the campaigns against, for example, slavery and in favour of women's suffrage.

 * As the impacts of our consumption kick in thousands of miles away, and people come to our borders desperate for refuge from a crisis they played almost no role in causing – a crisis that might involve real floods and real droughts – the same political forces announce, without a trace of irony, that we are being "flooded" or "sucked dry" by refugees, and millions rally to their call to seal our borders.
 * In some cases, the cycle plays out in one place. Florida, for example, is one of the US states most prone to climate disaster, especially rising seas and hurricanes. But its governor, Ron DeSantis, is building his bid for the presidency on the back of climate denial.
 * "The hard right and climate catastrophe are intimately linked. This is how" The Guardian (15 June 2023)

 * According to Google's news search, the media has run more than 10,000 stories this year about Phillip Schofield, the British television presenter who resigned over an affair with a younger colleague. Google also records a global total of five news stories about a scientific paper published last week, showing that the chances of simultaneous crop losses in the world’s major growing regions, caused by climate breakdown, appear to have been dangerously underestimated. In mediaworld, a place that should never be confused with the real world, celebrity gossip is thousands of times more important than existential risk.
 * "With our food systems on the verge of collapse, it’s the plutocrats v life on Earth" The Guardian (15 July 2023)

2024–present

 * [P]erhaps the most pernicious innovation was to shut down crucial legal defences. One attorney general removed the defence of proportionality; another removed the defence of lawful excuse. This means that environmental activists can no longer explain their motives to a jury. They have to be tried as though they were mindless vandals, inconveniencing people for kicks, rather than seeking to prevent, at great cost to themselves, the greatest crisis humankind has ever faced. Some protesters have sought to explain themselves regardless, and have as a result been imprisoned for contempt of court.
 * The new government now seeks to address one grim Tory legacy, our bursting prisons, by releasing prisoners – including violent offenders – early. At the same time it fails to address or even mention another and even worse inheritance: the jailing of entirely peaceful people seeking to prevent existential disaster. Perhaps the prisons can be emptied of violent criminals so they can be refilled with environmentalists.
 * "Protest is the wellspring of democracy – that's why Labour must repeal the Tories' draconian laws", The Guardian (19 July 2024)

Quotes about George Monbiot

 * On December 12, 2015, official delegates and observers gathered in the plenary hall of COP21. It was there that the Paris Agreement was announced. The end result of decades of work, world leaders hailed it as a great success. "The Paris Agreement is a monumental triumph for people and our planet," UN secretary general Ban Ki-Moon tweeted immediately after the closing gavel fell. Many environmental groups praised the outcome as well…Not everyone agreed. Joining Michael Brune on Democracy Now!, British journalist and author George Monbiot countered, "What I see is an agreement with no timetables, no targets, with vague, wild aspirations. It's almost as if it's now safe to adopt 1.5 degrees centigrade as their aspirational target now that it is pretty well impossible to reach. I see a lot of backslapping, a lot of self-congratulation, and I see very little in terms of the actual substance that is required to avert climate breakdown." Monbiot wrote, "By comparison to what it could have been, it's a miracle. By comparison to what it should have been, it's a disaster."
 * Amy Goodman Democracy Now!: Twenty Years Covering the Movements Changing America (2017) p. 248

title: George Monbiot


text:
User:Charlie Currie~enwikiquote

Better late than never? CPR. I rest my case. Charlie Currie

Shooting fish in a barrel isn't as easy as it is cracked up to be. Charlie Currie

If you have a bird in the hand and you're in the bush, what is that worth? Charlie Currie

There was only one path for the destination you are at in your life. Charlie Currie

title: User:Charlie Currie~enwikiquote


text:
Bob Ross

Robert Norman "Bob" Ross (October 29, 1942 – July 4, 1995) was an American painter and television host. With his calm, patient nature, Ross came to prominence as the creator and host of The Joy of Painting, a long-running television program on public broadcast stations in the United States. Ross died of lymphoma at the age of 52.

Quotes

 * In Painting, You Have Unlimited Power. You Have The Ability To Move Mountains. You Can Bend Rivers. But When I Get Home, The Only Thing I Hve Power Over Is The Garbage.
 * From "The Joy of Painting" Mobquotes

 * I started painting as a hobby when I was little. I didn't know I had any talent. I believe talent is just a pursued interest. Anybody can do what I do.
 * Cathy Hainer (October 28, 1993) "PBS' stroke of serenity / Bob Ross brings brush of zen to 'Joy of Painting'", USA Today, p. 3D.
 * People have success with this method and it gets them excited. It gets them hooked. You can put layers of thick paint on thin paint and that allows you to complete a painting in one sitting.
 * Mike Flannagan (October 1, 1992) "TV Artist Bob Ross Watches Paint Dry, Turns It Into a Successful Career", The Knoxville News-Sentinel, p. B1.

 * Within one hour of touching the brush to canvas for the first time, my students have a total, complete painting.
 * Alessandra Stanley (December 22, 1991) "Television: Bob Ross, the Frugal Gourmet of Painting", The New York Times, Section 2; Page 33; Column 1; Arts & Leisure Desk.

 * I have to paint fast on television because of the limited time, but I don't want people to see what I'm showing them as work, something to worry and fret over. This is supposed to be fun.
 * Judi Hunt (November 23, 1991) "Disciples of The Bob Ross Technique Find Joy in Learning They Can Paint", The Seattle Post-Intelligencer, p. C1.

 * Traditionally, art has been for the select few. We have been brainwashed to believe that Michaelangelo had to pat you on the head at birth. Well, we show people that anybody can paint a picture that they're proud of. It may never hang in the Smithsonian, but it will certainly be something that they'll hang in their home and be proud of. And that's what it's all about.
 * Linda Shrieves (July 7, 1990) "Bob Ross Uses His Brush to Spread Paint and Joy", The Orlando Sentinel, p. E1.

 * I've never claimed that this is investment art. When we first started out, all the art colleges and universities across the country would sort of badmouth what we were doing. It's funny that a lot of them now are sending us letters saying, 'We may not totally agree with the way you paint, but we appreciate what you're doing, because you're sending literally thousands of people into art colleges.'
 * (1990) reported in Associated Press (July 7, 1995) "Bob Ross, Painting Instructor to Millions, Dead at 52".

 * Talent is a pursued interest. In other words, anything that you're willing to practice, you can do.
 * The Joy of Painting, "Meadow Lake" (Season 2, Episode 1)

 * We don't make mistakes; we just have happy accidents. And that's when you really experience the joy of painting.
 * Bob Ross: Beauty Is Everywhere. Collection 1: Ep. 8 "Wintertime Blues"; The Joy of Painting Season 20: Episode 3 Bob Ross: Winter in Pastel.

 * Absolutely have to have dark in order to have light. [...] Gotta have opposites – dark and light, light and dark – continually in a painting. If you have light on light, you have nothing. If you have dark on dark, you basically have nothing. [...] You know, it's like in life: you've gotta have a little sadness once in a while, so you know when the good times come. I'm waiting on the good times now.
 * The Joy of Painting, "Mountain Ridge Lake" (Season 23 Episode 3)

Attributed

 * Happy painting and God Bless, my friend.
 * Ken Tucker (2006) Kissing Bill O'Reilly, Roasting Miss Piggy: 100 Things to Love and Hate about TV, Macmillan: ISBN 0312330588, p. 155.

 * Let's build us a happy, little cloud that floats around the sky.
 * Ann Curry (September 22, 2004) "Painter Bob Ross remains an iconic figure years after his death", NBC News.

 * Little more black, little more blue. And we'll just put that in using little crisscross strokes or--or little X's, whatever you want to call them. Whatever.
 * David Brancaccio (May 12, 2003) "Legacy of Bob Ross lives on through his TV show still airing on public television stations", ''Marketplace, American Public Media.

title: Bob Ross


text:
User:Mudwomps

Drop Me A line!

title: User:Mudwomps


text:
User talk:Kimmo Laine

Welcome
Hi. Welcome to English Wikiquote. Enjoy! And thanks for all the work on Star Trek: The Original Series! ~ Jeff Q (talk) 17:15, 21 February 2006 (UTC)
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title: User talk:Kimmo Laine