A Quote by Scott Joplin
When I'm dead twenty-five years, people are going to begin to recognize me.
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This man, who for twenty-five years has been reading and writing about art, and in all that time has never understood anything about art, has for twenty-five years been hashing over other people's ideas about realism, naturalism and all that nonsense; for twenty-five years he has been reading and writing about what intelligent people already know and about what stupid people don't want to know--which means that for twenty-five years he's been taking nothing and making nothing out of it. And with it all, what conceit! What pretension!
There were nineteen years between my grandparents, and I was in a relationship for five years from the age of fifteen to twenty with a man who was thirteen years older than me who remains one of the loves of my life, and he passed away when I was twenty years old.
People who read me seem to be divided into four groups: twenty-five percent like me for the right reasons; twenty-five percent like me for the wrong reasons; twenty-five percent hate me for the wrong reasons; twenty-five percent hate me for the right reasons. It's that last twenty-five percent that worries me.
A lack of resources may slow you down, but don't let it make you throw away a big idea. Give God five years, ten years, fifteen years, twenty years, twenty-five years, thirty years, forty years, or more. Give God all the time He needs to bring the resources to you!
'The Immigrant Story,' which took me about twenty-five years to write, was a very simple story, but I couldn't think of how to tell it. Then twenty years after I started it, I found this one page and realized it was going to be the story. That's the only way you get it sometimes.
People learn twenty-five percent from their teacher, twenty-five percent from listening to themselves, twenty-five percent from their friends, and twenty-five percent from time.
The only chance for victory over the brainwash is the right of every man to have his ideas judged one at a time. You never get clarity as long as you have these packaged words, as long as a word is used by twenty-five people in twenty-five different ways. That seems to me to be the first fight, if there is going to be any intellect left.
I've been giving this lecture to first-year classes for over twenty-five years. You'd think they would begin to understand it by now.
It took me twenty years to discover painting: twenty years looking at nature, and above all, going to the Louvre.
Twenty-five, he was. Twenty-five tomorrow. Some years the snow had melted for his birthday, but not this year, and so it had been a long winter full of cows.
I was going to hang it up on the twenty-fifth year of this show. I don't know why. Maybe twenty-five years is enough. And I found out that I was having so much fun doing the show that we decided to stick around for a while.
Now that you are dead, you are splendid. Photographs of people who have just died are worth twenty percent more, and for suicides there is an additional five percent. Now that you are dead you are much in demand.
People only live for forty or fifty years so if you were married for twenty or twenty-five of those then that was it. Now people live for eighty years and if your married for fifty or sixty of those you start to get on each other's nerves.
I spent twenty years in the Army; of course it's going to color the things I talk about. If anyone spends twenty years doing anything, that's going to play a part in who you are as a human being.
Sitting for a picture is morbid business. A portrait doesn't begin to mean anything until the subject is dead. This is the whole point. We're doing this to create a kind of sentimental past for people in decades to come. It's their past, their history we're inventing here. And it's not how I look now that matters. It's how I'll look in twenty-five years as clothing and faces change, as photographs change. The deeper I pass into death, the more powerful my picture becomes. Isn't this why picture-taking is so ceremonial? It's like a wake. And I'm the actor made up for the laying-out.
My idea in Half the Kingdom was simply, or not so simply perhaps, that medical science has given us twenty extra years of life. Those twenty extra years - one is grateful for them, one is happy, but they also give you ten or twenty years more of losing your faculties. That is actually the origin of my notion. Once you live longer than you're supposed to live, things go dreadfully wrong. But nevertheless, you're not dead.
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