A Quote by Frank Moore Cross
That is to say, the inspiration, the interpretive richness of the text is what Elie [Wiesel] does publicly, and his interest in history is his private reserve; he knows that he is not an expert in dissecting the text the way Frank [Moore Cross] does.
Related Quotes
I sense that what you two [Elie Wiesel and Frank Moore Cross] share is that you each have a public relationship to the Biblical text and a somewhat private relationship to the Biblical text.
Frank [Moore Cross], publicly dissects the text but he has a private, passionate relationship to the text that he doesn't often speak of publicly.
What is public for you, Elie [Wiesel], is private for Frank [Moore Cross], and the reverse.
We have a text before us, an ancient text, a living text, and we try to enter it, not only to decipher it, but to penetrate it, to become part of it, similar to the way every student becomes part of a teacher's texture. That's how I see our [with Frank Moore Cross] two differing approaches.
Both of you [Elie Wiesel and Frank Moore Cross] are giants, dare I say nephilim [giants; see Genesis 6:4; Numbers 13:33], in your world.
I really don't teach the way Professor [Frank Moore] Cross does. I don't teach the text the same way he does. I teach Biblical themes, Biblical events.
In fact, we're both [with Elie Wiesel] engaged with the text. We search for different things, we find different things. There is a side of what he does that I'd like to do, a bit more privately. I'm not sure he is as interested in history, as I am.
I know that the Bible has been a central influence in [Elie Wiesel and Frank Moore Cross] lives - but in a very different way. In truth, you inhabit very different Biblical worlds.
As for the discipline, we [me and Frank Moore Cross] belong to two different disciplines. One involves research and archaeological materials. Mine is more interpretive. But it is the love for the text that is there, and that is what makes the whole adventure of reading and studying and sharing worthwhile.
Whether you're Godard or Almodovar or Scorsese, it's text, text, text. Everything begins with the text, and this is a source of great anguish to me. So please let cinema get on with doing what it does best, which is expressing ideas in visual terms.
We didn't really differ [with Frank Moore Cross] because we have the same love of the text. We share that love.
The only direction I can give to an actor, a good actor who knows his skills, is, 'Here are those words. They're yours. Make them yours. Don't tell the text but be the text.' That means you have to be the emotion of the text.
The person sending ironic text messages has no idea that their voice does not sound so great in text. There's no dry sense of humor in a text. It comes off as a little bit shitty.
Illustrations have as much to say as the text. The trick is to say the same thing, but in a different way. It's no good being an illustrator who is saying a lot that is on his or her mind, if it has nothing to do with the text. . . the artist must override the story, but he must also override his own ego for the sake of the story.
With Orff it is text, text, text - the music always subordinate. Not so with me. In 'Magnificat,' the text is important, but in some places I'm writing just music and not caring about text. Sometimes I'm using extremely complicated polyphony where the text is completely buried. So no, I am not another Orff, and I'm not primitive.
Colin [Farrell] I talked to several times on the phone, and I said, remember, we have only twenty-five days of doing the movie [Miss Julie], so you must know some of your text. I was a little un-feminist, I didn't want to say [bossy voice] "learn your text!" But when he came, he knew all his text.
