A Quote by Miranda Otto

I love the Russians for their verve, their melancholia, their vivacity, their unpredictability, and their humour. — © Miranda Otto
I love the Russians for their verve, their melancholia, their vivacity, their unpredictability, and their humour.
I always loved the verve and vivacity of pulp and I kind of merged it with my own interest in family stories.
True values entail suffering. That’s the way we think. All in all, we tend to view melancholia as more true. We prefer music and art to contain a touch of melancholia. So melancholia in itself is a value. Unhappy and unrequited love is more romantic than happy love. For we don’t think that’s completely real, do we?…Longing is true. It may be that there’s no truth at all to long for, but the longing itself is true. Just like pain is true. We feel it inside. It’s part of our reality.
There is a certain artificial polish, a commonplace vivacity acquired by perpetually mingling in the beau monde; which, in the commerce of world, supplies the place of natural suavity and good-humour, but is purchased at the expense of all original and sterling traits of character.
I can see why the Russians love Robert Burns, I think that Russians and Koreans have a very similar outlook to Scots.
Non-Russian readers do not realize two things: that not all Russians love Dostoievsky as much as Americans do, and that most of those Russians who do, venerate him as a mystic and not as an artist.
Melancholia is the beginning and a part of mania. The development of a mania is really a worsening of the disease (melancholia) rather than a change into another disease.
I love the Middle East. My earliest childhood memories are of Jerusalem. I love the colors and smells and cadence of Arabic spoken in the streets of Cairo or Beirut. I also love the modernity and verve of Tel Aviv.
The Russians didn't invent partisan divides. The Russians haven't invented racism in the United States. But the Russians understand a lot of those divisions and they understand how to exploit them.
Russians aren't perfect. Their politics are messed up, and they keep going through self-defeating economic cycles. But I have a lot of respect for Russia, and a lot of love for Russians.
I love being in the ocean. I love the unpredictability of it- size of wave, animals you see, etc.
You hear people talking about a Scottish sense of humour, or a Glaswegian sense of humour, all sorts of countries and cities think that they've got this thing that they're funny. I read about the Liverpudlian sense of humour and I was like, 'Aye? What's that then?' You get that and you especially hear about a dark Glaswegian sense of humour.
I love that [ late-50s Verve recordings] - to me, that's the epitome of vocal jazz. It's my favorite style and era of it.
The British have turned their sense of humour into a national virtue. It is odd, because through much of history, humour has been considered cheap, and laughter something for the lower orders. But British aristocrats didn't care a damn about what people thought of them, so they made humour acceptable.
All Dickens's humour couldn't save Dickens, save him from his overcrowded life, its sordid and neurotic central tragedy and its premature collapse. But Dickens's humour, and all such humour, has saved or at least greatly served the world.
If I was drunk, I wouldn’t be here at all. And really, this is pretty good for four White Russians.” “White what?” I almost sat down but was afraid the chair might dematerialize beneath me. “It’s a drink,” he said. “You’d think I wouldn’t be into something named that—you know, considering my own personal experience with Russians. But they’re surprisingly delicious. The drinks, not real Russians.
At Verve, my bookkeeper would invariably say, 'Well, why do you want to put out Roy Eldridge?' Or 'Why do you want to put out Ben Webster? They don't sell.' And I'd say, 'Well, whether they sell or not, they're important, they should be recorded and they're what Verve stands for, so we don't have to discuss that any further.
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