A Quote by Gary Hustwit

So many people that we met had some sort of connection to the [Olympics] games. Some story about how they volunteered there, or some sort of memory of it. It still is in the cultural memory and identity of these cities as much as it is in the physical and architectural memory. It's where these two things overlap, I think, that we're trying to explore with the photos.
On a certain level, the film retains a cultural memory. It may be meaningless to some kids, but it doesn't matter. A lot of the '90s references will be meaningless, but do some of these kids really understand what they're wearing when they wear a Led Zeppelin shirt? No. But, it looks cool and it seems to have some sort of cultural cache.
In a free country, America, or India, and Japan, and many places, democracy country, free country, but still within the sort of rule of law, some injustice, some sort of problems, some discrimination, and also some sort of scandals or the corruptions. These things, you see, they are always in my mind, I think many people agree, lack of moral principle.
As you may know, my motto is: "All memory is fiction." It could just as easily be: "All fiction is memory." Unpacked, these two statements defy the ease of logic, but offer some really important truths about narrative art, at the very least, and about memory. So I would say that all art is personal.
A story is ultimately a memory. It's important when you're telling a story to think about why this memory is a memory. You don't remember everything in life; you just remember certain things - so, why this one?
Think about this for a moment, we grow so inured to these religious forms, think about the notion of instituting at the center of your religion a rite where you eat your god is probably a memory of a relationship to some kind of a psychedelic experience of some sort.
The scene is memory and is therefore nonrealistic. Memory takes a lot of poetic license. It omits some details; others are exaggerated, according to the emotional value of the articles it touches, for memory is seated predominantly in the heart.
Adaptation is always the same process for me, which is some version of throwing the book at the wall and seeing what pages fall out. It is trying to imagine, remember the story, read it, put it down, and then write sort of an outline without the book in front of you with some hope that what you like about it will be filtered and distilled out through your memory and then that will be similar to what other people like about it.
Cheerios bring back memories. I actually don't think I ate them much as a kid, though; maybe it's some sort of Jungian memory, I don't know. But they have so much sugar, it's great.
I have a good memory. But I would be interested in memory even if I had a bad memory, because I believe that memory is our soul. If we lose our memory completely, we are without a soul.
Memory is corrupted and ruined by a crowd of memories. If I am going to have a true memory, there are a thousand things that must first be forgotten. Memory is not fully itself when it reaches only into the past. A memory that is not alive to the present does not remember the here and now, does not remember its true identity, is not memory at all. He who remembers nothing but facts and past events, and is never brought back into the present, is a victim of amnesia.
You think about some of the most memorable meals you've ever had; the food will be good but it will often be about locating a mental memory and taste is inexorably linked to all the other senses and memory, so ultimately it is all about taste.
I keep thinking my father gave me Turgenev, and then I realize at some point, Oh, this is a false memory. I mean, that's one of the things that interests me about memoir. It should be as much about how we remember, and that includes false memories, and the realization that one is having a false memory. That's the kind of an interesting way of layering the whole experience of recollection.
Memory is the friend of wit, but the treacherous ally of invention; there are many books that owe their success to two things; good memory of those who write them, and the bad memory of those who read them
Some people say they use images to help them remember intricacies. Others say they just remember. If they are able to form an image of the face, it is because they remember how it was: it is not that an image guides memory, but that memory produces an image, or the sense of imaging. We have no agreed way to talk clearly about such things.
There is not any memory with less satisfaction than the memory of some temptation we resisted.
Places seem to me to have some kind of memory, in that they activate memory in those who look at them.
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