A Quote by Karl Marx

I am a machine, condemned to devour them and then, throw them, in a changed form, on the dunghill of history. — © Karl Marx
I am a machine, condemned to devour them and then, throw them, in a changed form, on the dunghill of history.
The only thing is that ordinarily when I do dance with [women] they think I am suddenly going to throw them over a table or twist them all around. All I want to do is one-two, one-two-three - a simple fox trot. But they're shaking with anticipation at the thought that I'm about to whip them around and then toss them on the roof.
'Writing' is the wrong way to describe what happens to words in a movie. First, you put down words. Then you rehearse them with actors. Then you shoot the words. Then you edit them. You cut a lot of them, you fudge them, you make up new ones in voice-over. Then you cut it and throw it all away.
I am the camera's eye. I am the machine that shows you the world as I alone see it. Starting from today I am forever free of human immobility. I am in perpetual movement. I approach and draw away from things-I crawl under them-I climb on them-I am on the head of a galloping horse.
During a race, it's like I become a machine and the machine becomes a man. I talk to my cars, baby them, shout at them, praise them.
People say 'chick lit,' and what they mean is 'crap.' And so even though you might sell 100,000 copies of a book, you're never going to win a prize. These are books that people don't just read, they devour them - they stay up into the early hours because they want to devour them.
When I was younger, I felt pressure to become someone else once I became successful. But it's the intention of the work that's changed. I have fans now. I have a new purpose: to remind them that I am one of them, that we are one another. My consciousness has changed.
I think whatever art form you're in, whether TV, film or theater, you should know the history of who came before you and how the art form has changed or not changed and to learn from the greats.
Usually there is a paradox in what a character wants. A conflict is built deeply within them. And then you put them in motion, throw everything at them until they reveal themselves further.
The batting coach does his job. He tells them the basic faults and helps them improve their technique. But if the batsman is in form then he has to carry that form.
We offer them mediocrity while calling it magic. We offer them the illusion of intelligent software, seducing them into surrendering the task of thinking to the machine. Of course, the machine isn't thinking, which means that nobody is.
I am a complete sentimentalist when it comes to clothes. I have so many memories attached to them that I can't throw them out - I don't know where to put everything.
In my house there is no attempt whatever to secure harmonies of colour, or form, or furniture.... I am entirely independent for daily happiness upon the sensual qualities of form or colour-when I want them I take them either from the sky or from the fields.
I love books where you can't get out of bed. You want to consume them in one sitting, devour them. Those are my favorites, where you've almost abandoned your life for them. That doesn't happen every time, but those are the best.
The reality is, if you go to the library and read biographies, thousands of people have changed, radically changed. St. Augustine was one of them. He lived a terrible a life for the first 33 years, and then he radically changed.
Women use lovers as they do cards; they play with them a while, and when they have got all they can by them, throw them away, call for new ones, and then perhaps lose by the new all they got by the old ones.
If two guys want to go see each other, let them be in the middle, let them throw some punches, then break it up.
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