Lawrence Ferlinghetti Quotes
Constantly risking absurdity and death whenever he performs above the heads of his audience, the poet, like an acrobat, climbs on rhyme to a high wire of his own making.
Quotes to Explore
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I think we Americans tend to put too high a price on unanimity, as if there were something dangerous and illegitimate about honest differences of opinion honestly expressed by honest men.
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I have just begun a work in which an important part is given to a large chorus and with it I want to use several of your instruments - augmenting their range as in those I used for my Equatorial - especially in the high range.
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The good news is that even though we walk through this valley of death, we don't have to fear, at least not for ourselves! Unfortunately, there is no way to skip over the valley altogether, we must face death and the evidence of evil all around us. But there will come a day... And what a day that will be!
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Homeland or death! Socialism or death! We shall overcome!
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High fashion has become representative of stability in unstable places; that allows you to have a voice in the world stage.
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Summer ends, and Autumn comes, and he who would have it otherwise would have high tide always and a full moon every night.
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As a director, there is nothing more fun than seeing an audience screaming and jumping. You are the ultimate puppet master, controlling the emotions of the audience.
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The American Dream is that any man or woman, despite of his or her background, can change their circumstances and rise as high as they are willing to work.
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I have vertigo. Vertigo makes it feel like the floor is pitching up and down. Things seem to be spinning. It's like standing on the deck of a ship in really high seas.
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I love to walk through the streets of Jesus Maria and Pueblo Libre. The Spanish colonial buildings are in bright colors, two stories high, with these intricate wooden, windowed balconies.
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You as an audience can look at these things as films, but I remember them as social experiences.
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Among the many signs of a lively faith and hope we have in eternal life, one of the surest is not being overly sad at the death of those whom we dearly love in our Lord.
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The film depends on the audience's belief in this relationship.
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My death is incidental, and I worry very much about my loved ones and, you know, would like to make it as easy as possible for them. Or wish I could will away whatever, you know, the sadness they will feel when I die. But for me, nothing. The world goes on.
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My ultimate aim would be to captivate an audience, even just for a second.
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Owing to the difficulty of dealing with substances of high molecular weight we are still a long way from having determined the chemical characteristics and the constitution of proteins, which are regarded as the principal con-stituents of living organisms.
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Kicks are my forte. I've got strong legs and high kicks. And I've got very good reach, obviously.
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I believe that given the audience attention level, we could do an even more compelling 90 minutes.
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I went to the computer and tried to experiment. I introduced a very high level of experiment in very pure mathematics.
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I had three choices: to conform to my own beliefs, which meant death; complete silence, which meant another kind of death; to pay a tribute, a bribe. I chose the third solution by writing The Long Winter.
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I love boxing. I box in a local boxing gym in London. I usually spar. But I've done two fights and I lost both of them admirably. I didn't realize how much it would hurt for them to actually hit me.
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I was thinking about doing another film at the same time, which was the sequel to Basic Instinct and I just had a feeling that wasn't going to happen. You know, I just kind of read the writing on the wall.
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I look forward to the challenges.
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Constantly risking absurdity and death whenever he performs above the heads of his audience, the poet, like an acrobat, climbs on rhyme to a high wire of his own making.
