A Quote by Kage Baker
Written and directed by French showman Georges Melies, 'Le Voyage' features one of the most indelible images in cinema history: the wounded Man in the Moon bleeding like a particularly runny Brie, grimacing in pain with a space capsule protruding from his right eye.
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In 1916, Universal Studios released the first filmed adaptation of Jules Verne's novel '20,000 Leagues Under the Sea.' Georges Melies made a film by that name in 1907, but, unlike his earlier adaptations of Verne, Melies' version bears no resemblance to the book.
The history of cinema appears to be easy to do, since it is, after all, made up of images; cinema appears to be the only medium where all one has to do is re-project these images so that one can see what has happened.
I think cinema is needed throughout Africa, because we are lagging behind in the knowledge of our own history. I think we need to create a culture that is our own. I think that images are very fascinating and very important to that end. But right now, cinema is only in the hands of film-makers because most of our leaders are afraid of cinema.
I was only in second grade when the Russian Cosmonaut Yuri Gagarin became the first man in space. The night of his launch - April 12, 1961 - I went out onto the front porch and stared up at the stars, trying to see his capsule passing overhead. Like millions of others, I was enthralled by the idea of space exploration and have been ever since.
What was most significant about the lunar voyage was not that men set foot on the moon but that they set eye on the earth.
"eL Seed" was inspired by the French play Le Cid by Pierre Corneille. It was seeing "Le Cid" coming from the Arabic name "el sayed," which means "the master, the man." So I called myself like that because I was 16; I said, "Yes, I'm the man." That's how it started.
My identity was tangled up in the parts that I had played since I was a child. I would go through my closet and only see audition clothes: Brie looking older, Brie looking '60s, Brie looking '40s, Brie looking younger in the future.
When I was a young man, my friends and I and all of us in New York were very influenced by French cinema. French cinema played an enormous influence on those of us who wanted to be filmmakers.
I'd love if between 'La La Land' and 'The Greatest Showman' we generate a new wave of movie musicals because, as an art form, musical narrative is so engaging and has produced some of the most iconic moments in cinema history.
Man with all his noble qualities, with sympathy which feels for the most debased, with benevolence which extends not only to other men but to the humblest living creature, with his god-like intellect which has penetrated into the movements and constitution of the solar system- with all these exalted powers- Man still bears in his bodily frame the indelible stamp of his lowly origin.
Frustration filled his features. "Rose I've done a lot of bad things, most of which I can never fix or find redemption for. My only choice now, if I want to reclaim my life, is to go forward, stopping evil and doing what's right. And what is NOT right is taking a woman from another man, a man I like and respect. I'll steal cars. I'll break into houses. But there are lines I WILL not cross, no matter what I—
I became a pedant of the form. I did my graduate work in art history and particularly in the history of French satirical cartooning. And that made me aware of what a rich and resilient tradition this seemingly scabrous sacrilegious magazine still represented in French life.
The history of progress is written in the blood of men and women who have dared to espouse an unpopular cause, as, for instance, the black man's right to his body, or woman's right to her soul.
His voice was an omnipresent cry in our electronic world. His sharp features, majestic looks, and prancing style a vivid etching on the landscape of our minds. Bob Marley was never seen. He was an experience which left an indelible imprint with each encounter. Such a man cannot be erased from the mind. He is part of the collective consciousness of the nation.
The painter who strives to represent reality must transcend his own perception. He must ignore or override the very mechanismsin his mInd that create objects out of images(symbols)... The artist, like the eye, must provide true images and the clues of distance to tell his magic lies.
If this capsule history of our progress teaches us anything, it is that man, in his quest for knowledge and progress, is determined and cannot be deterred.
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