A Quote by Lore Segal

First book was handwritten, then the printing press, now we've got our Kindles. To be able to push a button and a dictionary comes up. And then, at my age, that I can make the letters any size I want, and that I can carry all of William Shakespeare, all of Gogol, all of Franz Kafka in my handbag? You've got to love it.
Our planning system was dynamite when we first put it in. The thinking was fresh; the form mattered little. It was idea oriented. We then hired a head of planning, and he hired two vice presidents, and then he hired a planner; and the books got thicker, and the printing more sophisticated, and the covers got harder, and the drawings got better.
We didn't have any simulators. We had to do it on the track all the time. Now they've got simulators for everything. And, if they have an accident or go off, then you just press a button, re-set, and away you go again.
First of all, you've got to have a vision of 'What kind of program do I want to have?' Then you've got to have a plan to implement it. Then you've got to set the example that you want, develop the principles and values that are important, and get people to buy into it.
First I got a yo-yo. I got good and then I got bored. Next I got one of those wooden paddles with a rubber ball at the end of an elastic band. I got good and then I got bored. Then I tried bubbles. I got good but I never got bored.
Italy in the first years got food, for the first year or the first periods got food. Then we got raw materials and then we got tool machines, let's say, instruments for working.
What [Franz] Kafka says about the Tower of Babel: In the beginning there were actually many languages, and then as a punishment God gave the world a single language. And then they stopped understanding each other.
When I was 13, I had my first job with my dad carrying shingles up to the roof. And then I got a job washing dishes at a restaurant. And then I got a job in a grocery store deli. And then I got a job in a factory sweeping Cheerio dust off the ground.
Press the button, pump the water, build the pressure, push the piston, press the button. It's the perfect job.
As I got older, I got more Victorian and morbid. I got into things that circled around death, like skulls or morgue photographs or handwritten diaries. They can be almost haunted with all this history, and you project onto it and then it gets onto you.
It is, because you've got a nice picture, you want to put it up, and then you're like, 'Do I want this to go out in the press? Do I want them to run it and make a story surrounding that picture?' That's what I have to think of all the time.
But now we got weapons Of the chemical dust If fire them we're forced to Then fire them we must One push of the button And a shot the world wide And you never ask questions When God's on your side
I did a lot of musicals when I was young and finally went to drama school to try and get away from doing musicals... and of course the first thing that happened when I got out is I got offered a musical. And then when I got to the Royal Shakespeare Company, which was my next job, I ended up doing a bloody musical!
Franz Kafka is a huge influence, more than the Grimms. To allow yourself to get into the coal bucket and fly to the sky ... we learned that from Kafka, that you can have a thought and make a body of it in this way.
The printing press was at first mistaken for an engine of immortality by everybody except Shakespeare.
I went to a Jesuit school and they did a William Shakespeare play every year. I got to know Shakespeare as parts I wanted to play. I missed out on playing Ophelia - it was an all-boys school. The younger boys used to play the girls, I played Lady Anne in Richard III and Lady Macbeth, then Richard II and Malvolio. I just became a complete Shakespeare nut, really.
Even with the sacred printing press, we got erotic novels 150 years before we got scientific journals.
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