Jay Parini Quotes
'Of Mice and Men,' Steinbeck's fifth novel, adheres to a simple dramatic structure, which observes the classic Aristotelian unities of time, place and action.
Quotes to Explore
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Orange juice from concentrate is labeled. Food coloring Red #5 is labeled. Fish are labeled as to whether they've been previously frozen. To a consumer, there's no plausible reason why these factors should be on a food ingredient label while the presence of GMOs shouldn't be.
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It's a different era. Our job now is to show leadership and vision and to help the next generation of artists.
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I don't make much distinction between being a stand-up comic and acting Shakespeare - in fact, unless you're a good comedian, you're never going to be able to play Hamlet properly.
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I think the most expensive thing I've bought thus far is my Rolex.
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When I first got Yves Saint Laurent Couture, I didn't know how to take off a cape. I would ask Katoucha and Dalma - the real divas of the runway - 'Can you show me?' I've never been afraid to ask for help.
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New Zealanders have conventions and pleasantries, but we are direct. We are encouraged to be transparent with our behavior and not to employ passive aggression.
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It's hard to say, 'I don't believe in God.' I would love to know if God exists. But it's a very difficult thing for me to believe.
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A lot of hard work goes into making a film. It's not all fun time, as people tend to think. There are always stereotypes attached to every profession, but I found out this industry breaks them all.
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My father was a teacher, and there were teachers all around, his friends, they were working for the Government and their behaviour was within strictly limited areas.
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I'm parodied as being some right-wing fundamentalist extremist, it just isn't true. The parody doesn't reflect reality.
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People are losing the capacity to listen to words or follow ideas.
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That is not enough. Sport has been great for me, a great learning place that if you want to achieve you can, even if you are from the poorest part of Africa.
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In the Army, because the stakes are so high - right? - you can't just be a yes-man and say, 'Great idea, boss!' if you don't believe it - right? - because lives are at stake. And the commanders that I've worked for, they want frank assessments; they want criticism and feedback.
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My favorite body part? My feet. They're not pretty, but they get me where I want to go.
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When we started out in '64, um, I was playing Number One, which was a woman second in command of a star ship.
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Conflict is the beginning of consciousness.
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If you care about yourself and what you do, you get nervous about it. You just don't take the money and go home.
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The magic of creation has always fascinated me.
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I'd always wanted to do something about the Second World War, but I didn't want to do another combat film, whether it was air, land, or sea.
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As an athlete, you have to become quite selfish with your time and your body and your training.
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I used to live at the Cecil Hotel, which was next door to Minton's [Playhouse]. We used to jam just about every night when we were off. Lester [Young], Don Byas and myself - we would meet there all the time and like, exchange ideas. It wasn't a battle, or anything. We were all friends. Most of the guys around then knew where I lived. If someone came in Minton's and started to play - well, they'd give me a ring, or come up and call me down. Either I'd take my horn down, or I'd go down and listen. Those were good days. Had a lot of fun then.
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My goal was to become the best dancer in the world and, because I started late, I always had this feeling I was playing catch-up, so I've been a bit of a maniac most of my life, sort of striving.
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Distribution has really changed. You can make a record with a laptop in the morning and have it up on YouTube in the afternoon and be a star overnight. The talent on YouTube is incredible, and it can spread like wildfire. The downside is that it's very hard to convince the younger generation that they should pay for music.
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'Of Mice and Men,' Steinbeck's fifth novel, adheres to a simple dramatic structure, which observes the classic Aristotelian unities of time, place and action.
