Top 186 Von Neumann Quotes & Sayings - Page 3

I mean, if you are director like Lars Von Trier who is able to get actors on a table like Lauren Bacall, Ben Gazzara, James Caan, Nicole Kidman, Chloe Sevigny, Stellan Skarsgard, Udo Kier, all in the self-service situation in the same room, the same trailer, no money, then you must have something that everybody accepts.

No wonder that Churchill described this effort [the British codebreakers working at Bletchley Park] as "Britian"s secret weapon," a weapon far more effective than the buzz bombs and the rockets that Werner von Braun designed for a German victory, a weapon absolutely decisive, in the judgement of many, in winning the war for the Allies.

I studied Hitchcock and Josef von Sternberg under Richard Dillard at Hollins, and that year under his tutelage just completely rewired my brain. Both directors combine moral seriousness with great artistry and, certainly in Hitchcock's case, an enormous respect for plot, for its power to enthrall and delight.

It would be a very good thing for all involved - the country, an independent judiciary, and the Left itself - if liberals take a page from David von Drehle and their own judges of the New Deal era, kick their addiction to constitutional litigation, and return to their New Deal roots of trying to win elections rather than lawsuits.

I was modeling while I was in university and my agency said, 'There's this fashion campaign, can you go?' And I didn't want to; I told him I wanted to focus on my acting, but I ended up going, kind of dragging my feet, and it turns out, the casting director for it was the casting director for Lars von Trier's new movie.

I was Aladdin, and then I was Captain Von Trapp from 'Sound Of Music' when I was 7 or 8, and then King Arthur. I was always the lead. I've always enjoyed being onstage, acting obnoxious, being someone that wasn't me, hiding behind a character.

One might almost say, to adapt von Clausewitz, that modern warfare is PR by other means. And war-winning strategies mean that modern armies most stop treating their communications operations as secondary assignments or (as still too often happens) dumping grounds for officers who have failed at everything else - but as missions absolutely essential to success.

I loved 1930's women's pictures'films by Josef Von Sternberg or William Wyler. So, I fashioned a style out of that. The integrity and ethos of what I would write, however, came from the films of Ousmane Sembene and from reading Richard Wright, Toni Morrison, Sylvia Plath and Alice Walker.

Das immer gegenwärtige Zufallselement im künstlerischen Erzeugungsprozeß erfaßt die generative Graphik modellmäßig durch den Einbau von Zufallsgeneratoren in die Programme. [. . .] Die Zufallsgeneratoren beteiligen sich an der Strukturierung der generierten Information, schaffen dabei unvorhersehbar Neues und erweisen sich dadurch als die zweite schöpferische Instanz neben dem Programmierer . . .

Diane von Furstenberg actually gave me a very good piece of advice. She said, 'When you doubt your power, you give power to your doubt,' so that's something I'm going with. I think that's a really good answer: Just don't listen to the doubts. Your doubts are generated by fear, and fear is a series of distorted thoughts."

I can't speak American dog very well. There was a lot of improvisation with Uggie - like when I put the dog on the table or sometimes I follow him, sometimes he follows me. I had a lot of treats in my pocket. We worked with Omar Von Muller, the dog trainer. It was very easy because it was a big movie.

I've had the pleasure of working closely with Marc Von Em as a singer, but when I heard his original stuff, I asked him to open up a 10,000 seat gig. Just him, his guitar, and his songs. He killed it!

When Lars Von Trier calls me, I say yes without reading the script because often the script hasn't been written yet, and if Fincher called me again, I'd say yes without reading the script, too.

The first proponent of cortical memory networks on a major scale was neither a neuroscientist nor a computer scientist but .. a Viennes economist: Friedrich von Hayek (1899-1992). A man of exceptionally broad knowledge and profound insight into the operation of complex systems, Hayek applied such insight with remarkable success to economics (Nobel Prize, 1974), sociology, political science, jurisprudence, evolutionary theory, psychology, and brain science (Hayek, 1952).

When I began my physical studies [in Munich in 1874] and sought advice from my venerable teacher Philipp von Jolly...he portrayed to me physics as a highly developed, almost fully matured science...Possibly in one or another nook there would perhaps be a dust particle or a small bubble to be examined and classified, but the system as a whole stood there fairly secured, and theoretical physics approached visibly that degree of perfection which, for example, geometry has had already for centuries.

I think it's a legend that Lars von Trier is such a tough person to work with. I really didn't experience any of that. Of course, he's difficult in the sense that what he asks for is difficult. For my part in Antichrist, I suffered a bit. But it was the part - it wasn't him. He wasn't cruel. On the contrary, he was very kind. You know what you're up for when you read the pitch.

Lars von Trier is very, very, very clever about women. He gives the woman a space that I don't know any filmmaker does. Because in Breaking The Waves, protagonist Emily Watson is the Christ. Which man is doing that? I don't know any man giving that space to a woman. No one.

In a man like Friedrich von Schlegel the courage to be as an individual self produced complete neglect of participation, but it also produced, in reaction to the emptiness of this self-affirmation, the desire to return to a collective. Schlegel, and with him many extreme individualists in the last hundred years, became Roman Catholics. The courage to be as oneself broke down, and one turned to an institutional embodiment of the courage to be as a part.

The general verdict among the German generals I interrogated in 1945 was that Field-Marshal von Manstein had proved the ablest commander in their Army, and the man they had most desired to become its Commander-in-Chief. It is very clear that he had a superb sense of operational possibilities and equal mastery in the conduct of operations, together with a greater grasp of the potentialities of mechanized forces than any other commander who had not been trained in the tank arm. In sum, he had military genius.

E=mc2. Energy equals mass times the speed of light squared. The original statement is: If a body gives off the energy L in the form of radiation, its mass diminishes by L/c2. Ist die Tragheit eines Korpers von Seinem Energieghalt Abhangig? 1905

My definition, a definition in the drill books from the time that General Von Steuben wrote the regulations for General George Washington, the definition of the object of military training is success in battle... It wouldn't be any sense to have a military organization on the backs of the American taxpayers with any other definition.

I started making movies in my late 20s, that time in an artist's career that often sees artists just imitating things that he or she loves. I just wanted to be great like L'Age d'Or vintage Buñuel. I wanted to be Busby Berkeley, for crying out loud! I wanted to have chorus girls stomping their heels in my casting office. I wanted to be Erich Von Stroheim monogramming underwear for extras. So I started off my career doing that, and that was fun, but I realised I wasn't very good at it.

There's nothing wrong with a plan, but remember Von Moltke's famous dictum that no plan survives first contact with the enemy. The danger is a plan that seduces us into thinking failure is impossible and adaptation is unnecessary - a kind of ‘Titanic' plan, unsinkable (until it hits the iceberg).

I loved working with [ Lars Von Trier], but I've done two films before, so I was quite used to him.He's a man of incredible moods of course, but he's also a hugely perceptive man, and there's no getting away from that. And he's able to put that perception into something like film, so we're very lucky.

When I was doing 'Family Ties,' I was not quite that mellow as a real father. In fact, my wife used to call me Captain Von Trapp from 'The Sound of Music.' I tended to be a little more authoritarian. I had been a very disciplined child myself, so I made the mistake of thinking one size fits all.

When I was Cedrick Von Haussen, the champion of Liechtenstein, I was only 18 years old. I was super, duper young. I started traveling around for wrestling when I was 16, so I had only been wrestling a few years at that point.

I play Father Francis in 'The Exorcist Prequel.' It's fantastic. We are shooting in Morrocco and Rome. Paul Schrader is directing; Stellan Skarsgard plays the younger Max Von Sydow character. It's just a fantastic script. It's a very eerie, very scary script. It encomposes a growing dread that I think is really appropriate for the film.

It is also amazing to find just how religious and occult-minded some of the leading political and military players of the war were, from von Moltke and Ludendorff to Brusilov and J F C Fuller. Each, in his way, was deeply involved in what we would today call the occult, spiritualism, and visionary religion.

Hermann Goering, Joachim von Ribbentrop, Albert Speer, Walther Frank, Julius Streicher and Robert Ley did pass under my inspectionand interrogation in 1945 but they only proved that National Socialism was a gangster interlude at a rather low order of mental capacity and with a surprisingly high incidence of alcoholism.

Library of the Works of Ludwig von Mises”. Here is an article he wrote in 1951, some two years after his magnum opus Human Action appeared, where is lays out his case in a more popular form. The money sentences are “Economic theory has demonstrated in an irrefutable way that a prosperity created by an expansionist monetary and credit policy is illusory and must end in a slump, an economic crisis. It has happened again and again in the past, and it will happen in the future, too.

...liberation from constraints that operate at the level of ordinary humanity---limits imposed by space and time, by the needs of the body, and by the opaqueness of the computer-like mind. All three examples [Jacob Lorber, Edgar Cayce, and Therese Neumann] illustrates the paradoxical truth that such 'higher powers' cannot be acquired by any kind of attack or conquest conducted by the human personality; only when the striving for 'power' has entirely ceased and been replaced by a certain transcendental longing, often called the love of God, may they, or may they not be 'added unto you.

My role as the chair of the fashion department at Parsons put me face to face with all the big designers, retailers, and editors. Since I was moving in these new circles regularly, I realized I needed to do something about my own personal style. It was really Diane von Furstenberg who gave me the nudge.

Why did Erich von Stronheim leave Germany? Why did Hitchcock leave England? If you were a director you'd like to work in Hollywood too. Now go ahead and ask me if I'm still Polish. You people keep asking me this question. You want Polish artists to make it in the world, but when they do, you accuse them of treason.

When I first met Lars [Von Trier] he was sat on the sofa wearing socks and sandals. He wanted me to imagine my cat had died. It took me a while to think about it, but then I felt myself physically crumble. I got myself into a state that was actually pretty hard to get out of.

I know the von Trapps well. I've known them for many years and they are very reluctant to let anybody on to their property or to let anybody film them. They are constantly getting requests from all around the world to do shows about them or having news stories done and they're very private people.

The Kaiser Wilhelm Institute's eugenics studies were initially endowed by Gustav Krupp von Bohlen und Halbach, the head of the Krupp munitions monolith, and James Loeb, of the Kuhn-Loeb banking family. Loeb's relatives, the Warburgs, were banking partners of William Rockefeller, and both families were responsible for setting up the American Harriman family - also movers and shakers in eugenics - in business.

I get along really well with Lars [von Trier] but definitely during our first meetings I was feeling him out and he definitely says some things that are inappropriate and then you kind of get his sense of humour. I really enjoy him. He's one of my favourite people I've met now. So, he's pretty great.

The first day of shooting came, and of course I was nervous. I would lie if I said I wasn't impressed. I mean, Lars von Trier hiring me to be the king in 'Medea'... Lars said, 'Stop! Stop!' And I was so nervous, I turned around and said, 'What is it?' He said, '... Just be a tired king.'

During the first half of the present century we had an Alexander von Humboldt, who was able to scan the scientific knowledge of his time in its details, and to bring it within one vast generalization. At the present juncture, it is obviously very doubtful whether this task could be accomplished in a similar way, even by a mind with gifts so peculiarly suited for the purpose as Humboldt's was, and if all his time and work were devoted to the purpose.

I'm crazy about Diane Von Furstenberg. It's a relationship that's very different; I don't see Diane a lot. So when I saw the article in New York magazine she looked so beautiful and it was talking about her work, too. She set up the interview and it was happening. That's different than someone writing a book about you who you've never met.

The vampire or the bad guy, that's what people do remember. Lars von Trier, like Guy Maddin, their films are made for a group of exclusive people who like special films. And they are special films, they are art films. And I started with commercial films at the beginning, and later on, because you know, when you are an actor, you have the same cliché like everybody else, you want to be in big films, you want to be known and all that.

Inwardness is the characteristic feature of the vegetable rather than the animal approach to existence. The animals move, migrate and swarm, while plants hold fast. Plants live in a dimension characterised by solid state, the fixed and the enduring. If there is movement in the consciousness of plants then it must be the movement of spirit and attention in the domain of vegetal imagination. (...) This is the truth that the shamans have always known and practiced. Awareness of the green side of mind was called Veriditas by the twelfth century visionary Hildegard Von Bingen.

My only supporter and comrade-in-arms was Georg Helm, who had endeavored to formulate an energetic conception of science before me and had presented his results in a treatise [Die Lehre von der Energie] exhibiting great independence of thought. But we were separated by his aversion to a realistic conception of energy. Consequently, each of us considered the other only a half ally, toward whom an attitude of caution was necessary.

In 'The Sound of Music,' I was a von Trapp daughter in a white dress with a blue satin sash, and my line was, 'I'm Brigitta. I'm 12, and all I want is a good time.' I got a laugh. And I was so delighted, I laughed, too. Sadly, that's a problem I still have - onstage, I laugh hysterically at how funny I am.

There's a quote I love, the full version is a bastardisation of quotes from William Hutchison Murray and Johann Wolfgang von Goethe, but it's about the importance of starting things - not completing or succeeding - but beginning. It ends: "Anything you dream you can do, begin it. Boldness has genius, magic and power in it. Begin it now!".

There's no room for being a visionary in the studio system. It literally cannot exist. You give Terrence Malick a movie like Transformers, and he's f***ed. There's no way for him to exist in that world... Lars Von Trier's dangerous. He scares me. And I'm only going to work now when I'm terrified.

I am convinced that of all the people on the two sides of the great curtain, the space pilots are the least likely to hate each other. Like the late Erich von Holst, I believe that the tremendous and otherwise not quite explicable public interest in space flight arises from the subconscious realization that it helps to preserve peace. May it continue to do so!

Look at Charlotte Gainsbourg, in the Lars von Trier film Antichrist. She's unbelievable. She doesn't act; she's there. She's great. And you love her for that, because it's so daring, what she has to do. And she does it as if it is nothing. I think she's brave. I fell in love with her when I saw that film. She is a revelation. Total revelation.

I found a deep kinship between Mahler's recurrent attempts to confront all sides of life and to affirm himself in the face of his own finitude, and Aschenbach's dedication to persevere in the literary evocation of beauty. Exploring this kinship led me to reflect on many of Mahler's songs and symphonies - and particularly his great masterpiece, Das Lied von der Erde. The end result was a way of reading Mann that I hadn't originally anticipated at all.

I have always had a longing to talk about this Nazi period because my parents' generation wouldn't talk about it after the war at all. From an actor's point of view, it's amazing to play in one year the Nazi Albert Speer and Claus von Stauffenberg.

My intimate knowledge of many central African tribes has everywhere convinced me of the necessity that the Negro does not respect treaties but only brute force.”• General Adrian Dietrich Lothar von Trotha on German South West Africa “At the level of individuals, violence is a cleansing force. It frees the native from his inferiority complex and from his despair and inaction, it makes him fearless and restores his self-respect.

(Heinrich von) Kleist would not be a Prussian if his first thought would not have been orderlinessand he would not be a German if he had not placed all his hopes of developing this inner orderliness into education. Education is the secret of life for him as for every German: studying, learning a lot from books, sitting in lectures, keeping notebooks, listening intently to professors.

I'm besotted by [Kirsten Dunst] now. I think she's just wonderful. I can't think for a second that however much she'd worked in America, she would never have had the chance to play [a role in Lars Von Trier's 'Melancholia' ] like that. You have to get outside of the States to do something like that.

At George Mason University I saw Hoppe present a lecture in which he claimed that Ludwig von Mises had set the intellectual foundation for not only economics, but for ethics, geometry, and optics, as well. This bizarre claim turned a serious scholar and profound thinker into a comical cult figure, a sort of Euro Kim Il Sung.

I don't expect that the scientific community now embraces and kisses me 'Oh wonderful, great you did!' we have to live with critics, this is normal. Chariots of the Gods was full of speculation, I had 238 question marks. Nobody read the question mark. They always said: Mr. Von Daniken is saying... I did not say, I asked the questions, would that be a posibility? In Chariots of the Gods, I made clear difference between a speculations and facts.

I think when you get the opportunity to work with someone like Lars Von Trier... I mean, Alexander Skarsgård, Charlotte Rampling, John Hurt, just to work with those actors, you take that opportunity when you get it.

Hildegard von Bingen conveys spiritual ecstasy, if we're talking of Western music. What bothers me about Western music is that it doesn't have an esoteric dimension in the way the music of the East has, whether it be Byzantine chant, the music of the Sufis, or Hindu music.

Now the time comes that I decided I only will do art films, basically. In a way, very similar to Isabella Rossellini. I prefer to work only with people like Lars von Trier or Guy Maddin or Gus Van Sant, just to name a few. But also there's bills to pay, and sometimes you have to make a movie. So my decision from now on is art movies, or movies which are commercial, but for real money. That is my decision.

My style icons are Lucille Ball for her bouffant hair and all the updos, James Dean for his rockabilly style - the denim and rolled-up T-shirt thing. And I am also inspired by Dita Von Teese and Gwen Stefani. Their style is retro, but it's still very feminine at the same time.

Look at me!’ I screeched. ‘Look at me, Amadeus von Linden, you sadistic hypocrite, and watch this time! You’re not questioning me now, this isn’t your work, I’m not an enemy agent spewing wireless code! I’m just a minging Scots slag screaming insults at your daughter! So enjoy yourself and watch! Think of Isolde! Think of Isolde and watch!