A Quote by Groucho Marx

How much would you want to stand at the wrong end of a shooting gallery? — © Groucho Marx
How much would you want to stand at the wrong end of a shooting gallery?
How would you judge an artist who mutilated animals in a gallery because it was visually arresting? How riveting would the sound of a tortured animal need to be to make you want to hear it that badly? Try to imagine any end other than taste for which it would be justifiable to do what we do to farmed animals.
Every time I think I know what's right and wrong, I end up being wrong. All I want to do is explore. I want to see what people would do. I say, 'What would this person do in this situation?' and I write it down. I'm not writing manifestos of my political views.
If we would end the war on drugs, you would see the end of the militarization of our police forces and you would see an end to a lot of the shooting violence that's going on when people are being pulled over for traffic stops and then suddenly executed right in the street.
Kids don't want stand-ins on parents' weekend, no matter how much they might love those stand-ins. They don't want stand-ins to talk to about their teachers and their upcoming history final and the latest computer program idea they've come up with.
I've learned when to get out. I've never wasted too much time with the wrong person, and that's one thing I'm proud of. The longer you're with the wrong person, you could be completely overlooking or not having the chance to meet the right person. And if it doesn't feel right, it isn't right. How do you know if something feels right? I think the great defining factor for me is whether I want more. When they drive away, do I wish they would turn around at the end of the street and come back? Or am I fine that they're going home?
You can practice shooting eight hours a day, but if your technique is wrong, then all you become is very good at shooting the wrong way. Get the fundamentals down and the level of everything you do will rise.
I enjoyed shooting 'Chandramukhi' so much that I would not say it was a relief when the shooting got over.
The city's the best gallery I could imagine. I would never have to make a book and then present it to a gallery and let them decide if my work was nice enough to show it to people. I would control it directly with the public in the streets.
There are only two questions about government. How much do you want? How much can you stand?
"Between a high, solid wall and an egg that breaks against it, I will always stand on the side of the egg." Yes, no matter how right the wall may be and how wrong the egg, I will stand with the egg. Someone else will have to decide what is right and what is wrong; perhaps time or history will decide. If there were a novelist who, for whatever reason, wrote works standing with the wall, of what value would such works be?
The way we want to look at it is we would like to do end-to-end design in India. We've invested for many years, and so at some point, to do end-to-end product in India is very much a possibility.
Unfortunately, the public might not know that we get a script usually two days before shooting. So sometimes I'm shooting an episode and don't even know how it's going to end because I haven't read that yet.
If I could get an honest answer, I would ask Trump. "How much money would you want in order to leave the presidency?" Because I think he would have a number, strangely enough. Then we'd know how much to launch the Kickstarter for.
The fascination of shooting as a sport depends almost wholly on whether you are at the right or wrong end of the gun.
I really don't want to be part of just one group. I'm interested in doing everything - making music videos, shooting campaigns, having -gallery and museum shows, making movies. Everyone wants to put you in a box, and I'm afraid I'm not that kind of person.
Martin Luther was asked, what would you do if tomorrow the world would come to an end, and he said, 'I would plant an apple tree today.' This is a real good answer. I would start shooting a movie.
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