Kage Baker Quotes
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Smashing things is the violent way stupid mortal monkeys solve their problems.
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That is one dark house your God lives in, man. Alec shook his head. You can keep your Age of Faith. Whyn’t you find somebody to worship who isn’t a shracking psychopath?
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Rutherford was a historian, after all, and secretly enjoyed it when the truth did injury to modern sensibilities.
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'They find us outlandish,' Lopez admitted. 'Extravagant. Eclectic. Unfathomable.'
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Back when the concept of organ transplants qualified as science fiction, novelist Maurice Renard wrote a thriller called 'Les Mains d'Orlac.' Call it a bastard offspring of 'Frankenstein;' its plot revolved around the old theme of Science Giving Us Stuff We Shouldn't Have - in this particular case, restoring severed body parts.
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In 1921, Harry Houdini started his own film company called - wait for it - the Houdini Picture Corporation.
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A generation before, it had been sagebrush and coyotes; a generation later, it was a burgeoning movie town. But for that brief idyllic time in 1910, Hollywood looked like the perfect place for a successful writer to settle down, build his dream house, and maybe do some gardening.
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'Sight-seeing is the art of disappointment,' I quoted.
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We who grew up with 'drop and cover' drills know all too well what wonders science can bring us, and we like to see the guy in the white lab coat suffer a little. Or a lot.
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So vast is the shadow cast by the MGM production of 'The Wizard of Oz,' so indelible are its characterizations, so perfect its music, and so assured is its cinematic immortality, that most people think of it as 'The Original.' In fact, it isn't.
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I detest flying anywhere. Left to my own devices, I'd never leave my keyboard.
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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.
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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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'I will say this once.' Edward turned to the others. 'I’m in command on this mission. Do not, at any time, attempt to wrest control from me. If what you see dismays you, avert your eyes.'
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What has 'The Patchwork Girl of Oz' got in its favor? Quite a lot, from our point of view in 2009. If you want to see how Oz's creator envisioned his own work, here it is.
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I saw the Kino print of 'The Man From Beyond,' but apparently a superior new print has been produced by Restored Serials. Maybe a few snippets of missing footage will close up some of the plot holes, but I have my doubts.
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The leaf that spreads in the sunlight is the only holiness there is. I haven’t found holiness in the faiths of mortals, nor in their music, nor in their dreams: it’s out in the open field, with the green rows looking at the sky. I don’t know what it is, this holiness: but it’s there, and it looks at the sky.
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In 1913, the noted German actor and director Paul Wegener was making a film in Prague when he heard the legend of Rabbi Loew, who created a golem to protect the inhabitants of the Prague ghetto from persecution.
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According to Jewish legend, only the very wisest and very holiest rabbis had the power to make golems, animated servants of clay. Strictly speaking, the golem is not in the same class with Frankenstein's monster, because the golem is neither alive nor dead. He is, rather, the ancestor of all robots.
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For all its flaws, 'The Hands of Orlac' really is a seminal film, and if you're partial to that particular B-movie subgenre of Demon Body Parts, you really ought to see it.
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If you want to see what stage comedians did to get laffs a century ago, watch the 1910 'Wizard of Oz.' I hope you have a high tolerance for pratfalls.
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'Edward has a purpose for us. Ruling the world, I assume.''He can’t,' says Alec, aghast. 'That’s what villains do!'
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Romantic Orientalism was fascinated by the color and excitement of a powerful culture, and nearly always approached its subject with love.
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The 1910 Edison film of 'Frankenstein' was itself a dead thing revived by technology.