A Quote by Julius Evola

I see nothing but a world of ruins, where a kind of front line is possible only in the catacombs. — © Julius Evola
I see nothing but a world of ruins, where a kind of front line is possible only in the catacombs.
I want a room decorated with bones!" Dan said. "Where'd they come from?" "Cemeteries," Amy said. "Back in the 1700s, the cemeteries were getting overcrowded, so they decided to dig up tons of old bodies–all their bones–and move them into the Catacombs. The thing is...look at the dates. See when they started moving bones into the Catacombs?" Dan squinted at the screen. He didn't see what she was talking about. "Is it my birthday?
The world is only a mirror. You will only see in the world what you're prepared to see in yourself-nothing more and nothing less.
I always thought the front line was the bookstores. And bookstores around America, around the world did astonishingly well. They held the line. They didn't chicken out. You know, they defended the book. They kept it in the front of the store.
We live in capitalism, and capitalism is defined by the production line, and the production line is defined by specificity. If you see yourself as an artist, which I do, then you can't be limited by that. You can't let somebody tell you, 'Well, you can only draw this kind of picture or write that kind of book.'
Wales are obviously a team that like to play rugby in your half and put as many people as possible in the front line and get off the line and put pressure on you.
And a beautiful world we live in, when it is possible, and when many other such things are possible, and not only possible, but done-- done, see you!-- under that sky there, every day.
The world is as you perceive it to be. For me, clarity is a word for beauty. It’s what I am. And when I’m clear, I see only beauty. Nothing else is possible.
We look at the world and analyze the world, and see what we can do that is in line of our mutual interest and also in line with, you know, what the whole world needs, because this is a world where we really have to all work together.
Most people draw from the mind, not the eye. They draw the idea of a table or a face, not what's in front of them. We don't actually see the line of the jaw as a line and we don't see an eye as a perfectly outlined almond shape.
It's only possible to see people when one is able to see the world as others see it.
You can only see what you believe—nothing else is possible.
Our people are dying, poverty and unemployment are on the rise, but the rest of the world says that Musharraf is needed because [only] he can stop nuclear proliferation, [only] he [can launch] an operation in the tribal areas. So he manipulates and dangles some kind of carrot in front of the world all the time. This is not good for the people [of Pakistan], and I think the world has got it all wrong.
Well, I really want to encourage a kind of fantasy, a kind of magic. I love the term magic realism, whoever invented it – I do actually like it because it says certain things. It's about expanding how you see the world. I think we live in an age where we're just hammered, hammered to think this is what the world is. Television's saying, everything's saying 'That's the world.' And it's not the world. The world is a million possible things.
My films have a lot of historical context; I'm a huge fan of ruins. You see a lot of ruin work in my movies, I like ruins.
Shall I tell you the secret of the whole world? It is that we have only known the back of the world. We see everything from behind, and it looks brutal. That is not a tree, but the back of a tree. That is not a cloud, but the back of a cloud. Cannot you see that everything is stooping and hiding a face? If we could only get round in front--
I remember once I went to go see a movie, and in front of me in line there was a little boy who looked so eager to see it, like it was Christmas morning. When he got to the ticket booth it turned out there was only one ticket left; the manager was there and wanted to give it to me instead since I was famous. That's when I knew I'd hit it big.
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