A Quote by Rebecca Miller

Looking at paintings was a huge part of finding my way into the lush world of the 18th century. — © Rebecca Miller
Looking at paintings was a huge part of finding my way into the lush world of the 18th century.
People are still making paintings. People are still enjoying paintings, looking at paintings. Paintings still have something to tell us. There's a way of being in the world that painting brings to us, that painters bring to the task that we absorb and are able to be in dialogue with. That's something that's part of us.
I wanted to create a believable feeling for 18th Century reality in the Perfume: The Story Of A Murderer. I didn't want this typical film feel of strange people in strange costumes, not really knowing what to do or how to move. If you put an 18th Century costume on Alan Rickman, it looks like he's been wearing it forever because he inhabits the stuff. He is a character that can really travel in time as an actor and transform into this 18th Century person with seemingly no effort.
If you go to old houses on Long Island you will see painted Chinese wallpaper, which was big in the 18th century. Throughout history, notable, established families have always tried to link to the 18th century.
When I'm dealing with the 18th century, as I do in 'The Firebird,' the difficulty isn't only finding what a woman did, it's finding her at all. Most of the sources I'm dealing with - letters and memoirs and written reports of the day - have been written by men.
If psychoanalysis was late 19th century secular Judaism’s way of finding spiritual meaning in a post-religious world, and retail is the late 20th century’s way of finding spiritual meaning in a post-religious world, what does it mean that I’m impersonating the father of psychoanalysis in a store window to commemorate a religious holiday?
That's a huge part of being a human being: looking for love and finding a partner in this world. When you constantly play characters who don't have that life, it feels incomplete and not totally human.
Although the stories are very present in my book, and very present in my mind, what I was most interested in was the question of why it had attracted such a following in the 18th Century. It's less mysterious that it attracted a following in the Romantic period, and in the 19th Century, but the early 18th Century when the Rationalists fell in love with it...that was mysterious. What I wanted to look at was the forms of enchantment.
One layer was certainly 17th century. The 18th century in him is obvious. There was the 19th century, and a large slice, of course, of the 20th century; and another, curious layer which may possibly have been the 21st.
It would be exciting to take part in what we now call the Enlightenment at the end of the 18th century, but with modern dentistry.
The English literary movement at the end of the 18th century was obviously due in great part, if not mainly, to the renewed practice of walking.
Look, science is hard, it has a reputation of being hard, and the facts are, it is hard, and that's the result of 400 years of science, right? I mean, in the 18th century, in the 18th century you could become an expert on any field of science in an afternoon by going to a library, if you could find the library, right?
I would say I'm a 19th-century liberal, possibly even an 18th-century one.
I grow tired of 18th century moralities in a 20th century space-atomic age
The French Revolution was a kind of 21st-century moment in the heart of the 18th century - and Alex Dumas, outstanding though he was, could never have risen the way he did if not for that. The French Revolution was the American Revolution on steroids.
An 18th century brain, in a 21st century head.
I believe that justices must recognize that our Constitution is an 18th-century document that needs to be applied in the context of the 21st century.
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