A Quote by Wes Craven

A collection of masks, depicting historical figures in life and what I like to call the eternal repose. — © Wes Craven
A collection of masks, depicting historical figures in life and what I like to call the eternal repose.
Statues and murals depicting historical figures, and even Jesus Christ himself, are being targeted by angry mobs of individuals looking to rewrite history.
When depicting Asian people in movies, books, and television or as historical figures, it's more important to humanize them and give them all of the dimensions of humanity, and that includes sexuality. Ascribe the human the full range of human qualities.
It is easy to see, though it scarcely needs to be pointed out, since it is involved in the fact that Reason is set aside, that faith is not a form of knowledge; for all knowledge is either a knowledge of the eternal, excluding the temporal and historical as indifferent, or it is pure historical knowledge. No knowledge can have for its object the absurdity that the eternal is the historical.
What 'Floating Worlds' does draw on is Holland's artistry in bringing the past to life in her historical fiction and depicting the people who inhabited that past.
We realised that the safer creative people and craftsman feel, the better the collection they produce. If they do a better collection, my revenues grow. It is not easy to attach figures, but it is what happens.
If we look too closely at many historical figures, we won't like what we see.
Eternal life is the most important thing in all the world for which you and I should work and hope someday to attain. . . . the person who attains eternal life is exceedingly rich. Seek not for riches but for wisdom. . . . . . . he that hath eternal life is rich. Eternal life is the greatest of all of the gifts of God.
The repose necessary to all beauty is repose, not of inanition, nor of luxury, nor of irresolution, but the repose of magnificent energy and being; in action, the calmness of trust and determination; in rest, the consciousness of duty accomplished and of victory won; and this repose and this felicity can take place as well in the midst of trial and tempest, as beside the waters of comfort.
Harvey wasn't interested in the clothes, it was the masks that mesmerized him. They were like snowflakes: no two alike. Some were made of wood and of plastic; some of straw and cloth and papier-mâché. Some were as bright as parrots, others as pale as parchment. Some were so grotesque he was certain they'd been carved by crazy people; others so perfect they looked like the death masks of angels. There were masks of clowns and foxes, masks like skulls decorated with real teeth, and one with carved flames instead of hair.
For 'The Grace of Kings,' I read Han Dynasty historical records in Classical Chinese, which allowed me to get a sense of the complexity of the politics and the 'surprisingly modern' reactions of the historical figures to recurrent problems of state administration.
The more we can be raised above the petty vexations and pleasures of this world into the eternal life to come, the more shall we be prepared to enter into that eternal life whenever God shall please to call us hence.
I think that's really the beauty of life, like, we're this collection of moments, this collection of experiences that we've had, or little tics that we've stolen from other people, it's like we're this amalgamation of all of that.
It is a career of make-believe, of masks. We all have masks in life.
There is a constant ebb and flow in art historical reputations. The reputation of even the greatest figures like Picasso are in flux.
'Hamilton' and 'Shuffle Along' are closely connected because the ensembles are all friends, and they both deal with historical figures and the impact they've made on American life.
When I was seven years old, I fell in love with a series published by Bobbs-Merrill called 'The Childhood of Famous Americans.' In it, historical figures like Clara Barton, Nancy Hanks, Elias Howe, Patrick Henry, and dozens more came to life for me as children.
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