A Quote by Charlton Heston
My dad always said he wanted to be remembered for his body of work, and he's made more than 75 pictures, some good, some bad, and they will be his legacy to the world of acting.
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I would not have made any of my films or written scripts such as Taxi Driver had it not been for Ingmar Bergman, What he has left is a legacy greater than any other director.... I think the extraordinary thing that Bergman will be remembered for, other than his body of work, was that he probably did more than anyone to make cinema a medium of personal and introspective value.
I want to be remembered as an actor who put in some good work in the beginning of his career, even better work at the end of his career and slowly, successfully made the transition into writing and directing.
I think the beautiful part about Yao is that his main legacy won't be about the game. His legacy will be about helping people. His legacy will be taking on important world causes to better his world.
I have been a stalwart advocate for the legacy of Charles White. I have said it so often, it could go without saying. I have always believed that his work should be seen wherever great pictures are collected and made available to art-loving audiences.
A review of his work: His music soon spread throughout Europe, and he was invited to America were he performed the Piano Concerto. He would have wished that he would be remembered as an opera composer, but it was to be his orchestral extravaganzas, mainly the trilogy of Roman pictures that has made his name famous.
What I would like my legacy to be is that of a person who took good care of her family and sang some songs that made a difference in some way. I hope I'll be remembered as somebody who was always down to earth and who handled her career and other people with honesty, integrity and class.
He made his colours, built his stretchers, plastered his canvas, painted his pictures, carpentered his frames, and painted them. 'Too bad I can't buy my own pictures,' he murmured aloud. 'Then I'd be completely self-sufficient.'
The individual in the ordinary circumstances of living may feel more unreal than real; in a literal sense, more dead than alive; precariously differentiated from the rest of the world, so that his identity and autonomy are always in question.... He may not possess an over-riding sense of personal consistency or cohesiveness. He may feel more insubstantial than substantial, and unable to assume that the stuff he is made of is genuine, good, valuable. And he may feel his self as partially divorced from his body.
We've got a great team of editors, that's true. And we work hard so that when we do the couple of takes that they're good takes hopefully. Not always, that's for sure; there are lots of bad ones, but we try to work hard. Clint Eastwood doesn't more than one or two takes in his films. And he makes some good films.
Digital technology has thrown a closed shop wide open, and there are more people out there snapping away than ever before. Some of the pictures are bad, some of them are good, and many of them need some seasoning and direction.
All I wanted to do was be a professional film director with a body of work, and you're going to make some good films, some bad and some indifferent. You don't set out to make a dog, you set out to make something good. But I like them all.
If you do not take the distinction between good and bad very seriously, then it is easy to say that anything you find in this world is a part of God. But, of course, if you think some things really bad, and God really good, then you cannot talk like that. You must believe that God is separate from the world and that some of the things we see in it are contrary to His will.
Again, the glory of one attribute is more seen in one work than in another: in some things there is more of His goodness, in other things more of His wisdom is seen, and in others more of His power. But in the work of redemption all His perfections and excellencies shine forth in their greatest glory.
Much has been said about Robert, and more will be added. Young men will adopt his gait. Young girls will wear white dresses and mourn his curls. He will be condemned and adored. His excesses damned or romanticized. In the end, truth will be found in his work, the corporeal body of the artist. It will not fall away. Man cannot judge it. For art sings of God, and ultimately belongs to him.
Gabriel pulled her over his body to lie on the bed beside him. His kisses pressed her down into the oblivion of the mattress as her hands explored his chest, his shoulders, his face. "I want to lay my kill at your feet," he said, more growl than words, and held her tight by her hair as he marked her neck with his teeth. She writhed against him. She wanted to bite him, she wanted to rip the flesh from his back, but most terrible of all, she didn't want him to stop. Her back arched, her body shattered, she howled.
And his good wife will tear her cheeks in grief, his sons are orphans and he, soaking the soil red with his own blood, he rots away himself-more birds than women flocking round his body!
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