A Quote by Fritz Leiber
Yet for all the childish innocence of its bizarre glamor, Venice developed an atmosphere, or became the outpost of a sinister deep-rooted power.... It is a place of dreams, not only the tinseled ones.
Related Quotes
Childish fantasy, like the sheath over the bud, not only protects but curbs the terrible budding spirit, protects not only innocence from the world, but the world from the power of innocence.
... in the eyes of its visitors, Venice has no reality of its own. Anyone visiting the place has already seen so many pictures of it that they can only attempt to view it via these clichés, and they take home photographs of Venice that are similar to the ones they already knew. Venice [is] becoming like one of those painted backdrops that photographers use in their studio.
If you go to Florence, it has all surface beauty, but like Venice, it's simply a museum of Renaissance times. Los Angeles is raw, uncouth and bizarre, but it's a place of substance. It has more new horizons than any other place.
Prostitution, black marketeering, and informing on ones neighbors and friends all had such a deep-rooted tradition in Romania that there was a charming naturalness and innocence about it.
There are no moments more painful for a parent than those in which you contemplate your child's perfect innocence of some imminent pain, misfortune, or sorrow. That innocence (like every kind of innocence children have) is rooted in their trust of you, one that you will shortly be obliged to betray; whether it is fair or not, whether you can help it or not, you are always the ultimate guarantor or destroyer of that innocence.
Disney is a place that I've always rooted for, and I think the audience does also because we have a deep, deep love for what that means.
I moved further and further away from mass entertainment. The sexual element became increasingly sinister and bizarre. Don't blame me! The bastards drove me to it! They all backed off after that!
Life is sinister. I don't know if I am representing life exactly, but sinister, I think it has to do with dreams. You're dreaming when you're awake: you're sitting on the subway and you look around, and you can think of sinister things that are kind of delightful to think of because they're not really happening, but they are in your mind. They're about wishes, desires - sexy, dangerous, hopeful, the way it could be, maybe.
Dreams became issues of East versus West. Hopes became political rhetoric. Progress became a search for power and domination. Somewhere the truth was lost that people don't make war, governments do.
I think art is the only political power, the only revolutionary power, the only evolutionary power, the only power to free humankind form all repression. I say not that art has already realized this, on the contrary, and because it has not, it has to be developed as a weapon, at first there are radical levels, then you can speak about special details.
When I became a man, I put away childish things and got more elaborate and expensive childish things from France and Japan.
Worship songs can't just be rooted in culture - they won't be deep enough. They have to be rooted in scripture.
I became to myself an imaginary figure of great excellence, daring and glamor.
Remaining childish is a tremendous state of innocence.
So the city became the material expression of a particular loss of innocence – not sexual or political innocence but somehow a shared dream of what a city might at its best prove to be – its inhabitants became, and have remained, an embittered and amnesiac race, wounded but unable to connect through memory to the moment of injury, unable to summon the face of their violator.
It is always assumed that Venice is the ideal place for a honeymoon. This is a grave error. To live in Venice or even to visit it means that you fall in love with the city itself. There is nothing left over in your heart for anyone else.
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