Alan Moore citáty

page 8

„Za touto maskou je viac ako len telo. Pod touto maskou je nápad … a nápady sú nepriestrelné.“

“Her name is. And she has taught me more as a mistress than[Justice] ever did! She has taught me thatis meaningless without. is honest. makes no promises and breaks none. Unlike,.”

“By the power of truth, I, while living, have conquered the universe.”

“The multiplying villainies of nature do swarm upon him… [from Macbeth]”

“They offered you a choice between the death of your principles and the death of your body. You said you'd rather die. You faced the fear of your own death, and you were calm and still.”

“Noise is relative to the silence preceding it. The more absolute the hush, the more shocking the thunderclap.”

“Things are tough all over, cupcake, an' it rains on the just an' the unjust alike… except in California.”

“The superman exists and he's American.”

“It's cold and it's mean spirited and I don't like it here anymore.”

“Please! Don't all leave. Somebody has to do it, don't you see? Somebody has to save the world…”

“I did the right thing, didn't I? It all worked out in the end.'In the end'? Nothing ends, Adrian. Nothing ever ends.”

“Once a man has seen society's black underbelly, he can never turn his back on it. Never pretend, like you do, that it doesn't exist.”

“Sex is glorious, it's how we all got here, and it's most people's favourite activity.”

“Remember? Ohh, I wouldn't do that! Remembering's dangerous. I find the past such a worrying, anxious place.

"The past tense", I supposed you'd call it. Ha ha ha.”

“I leave the human cockroaches to discuss their heroin and child pornography.”

“For whatever the future holds, one thing is certain… It just won't be the same.”

“My dear, beautiful and imaginative things can be destroyed. Beauty and imagination cannot.”

“Som-Som would later learn that the girl's name was Book. Ambiguous and suggestive sentences swirled out from the maroon bud of her nipple. Verses of elegant and cryptic passion followed the orbit of her left eye. Her fingers dripped with poetry.”

“If you look at early shamanic texts and cultures, the magical powers that the shaman hopes the gods might give him, flying, turning into animals, invisibility, poetry – as if poetry was a magic power. As if it was the equivalent of turning into a dog or flying. As if. What does this tell us? Maybe there was a time when we could legitimately ask the gods for it as a gift. But we know there aren’t any gods, and that they can’t give those gifts, so the best thing we can do is go to church, listen to the lesson and hope we don’t burn. Have no direct contact with whatever form of god we choose to worship. It’s like the magical or spiritual equivalent of the big flaw in Marxism. Karl Marx, lovely geezer, very humane, a bit middle class but we’ll gloss over that, but his big flaw was that when he said “The reins of society will inevitably rest in the hands of those who control the means of production” didn’t take into account middle management. All the people who get between those with the means of production and the society. That translates onto a spiritual level as the shift from our earliest beliefs, which are all shamanic.”

“Murder? Don't talk to me about murder. I invented murder!”

“I can deal with functionality on a practical level. And I still have this relationship with this imaginary snake. My imaginary pal. If I’m going to be dealing in totally imaginary territory, it struck me that it would be useful to have a native as a guide. So I can have my imaginary conversations with my imaginary snake, and maybe it gives me information I already knew in part of myself, and maybe I just needed to make up an imaginary snake to tell me it.”

“What had originally been a straightforward battle of ideas between anarchy and fascism had been turned into a kind of ham-fisted parable of 9-11 and the war against terror, in which the words anarchy and fascism appear nowhere. … It struck me that for Hollywood to make V for Vendetta, it was a way for thwarted and impotent American liberals to feel that they were making some kind of statement about how pissed off they were with the current situation without really risking anything. It’s all set in England, which I think that probably, in most American eyes, is kind of a fairytale kingdom where we still perhaps still have giants. It doesn’t really exist; it might as well be in the Land of Oz for most Americans. So you can get set your political parable in this fantasy environment called England, and then you can vent your spleen against George Bush and the neo-conservatives. Those were my feelings, and I must admit those are completely based upon not having seen the film even once, but having read a certain amount of the screenplay. That was enough.”

“When modern horror films or fundamentalists talk about “demons,” they mean something very different than what Socrates meant by the term. It was a lot closer to what I was talking about: the essential drive, the highest self, if you like. So maybe there is a connection, when I met, or appeared to meet, a demon. It was a little bit frightening at first, but after a while we found that we got on OK and we could have a civilized conversation, and I found him very engaging, very pleasant. And it struck me that this was a brilliant literal example of the process of demonization. That when I had approached the demon with fear and loathing, it was fearsome and loathsome. When I approached it with respect, then it was respectable. And I thought, All right, there’s a kind of mirroring that is going on here that is probably applicable to a wide number of social situations. The people or classes of people that we demonize, and that we treat with fear and loathing, respond accordingly. We are projecting a persona of manner of behavior upon them, as well as responding to a manner of behavior that’s already there. When we’re looking at the flaws in their personality that we are able to recognize, the fact that we can recognize them suggests that they are probably in some way a version of flaws that we have ourselves.”

“The DC comics were always a lot more true blue. Very enjoyable, but they were big, brave uncles and aunties who probably insisted on a high standard of you know mental and physical hygiene. Whereas the Stan Lee stuff, the Marvel comics, he went from one dimensional characters whose only characteristic was they dressed up in costumes and did good. Whereas Stan Lee had this huge breakthrough of two-dimensional characters. So, they dress up in costumes and do good, but they've got a bad heart. Or a bad leg. I actually did think for a long while that having a bad leg was an actual character trait.”

“They were kept in the dark, squatting there with nothing to dwell upon beyond the fact they were unclean. Even the touch of their shadow would sour the land, blighting crops that grew there…. At the end of their confinement they were led out blinking into the harsh and masculine glare of the sun. Their clothing was taken from them and destroyed. Their anger in darkness turning, unreleased, unspoken, its mouth a red wound…”

“I suppose that the main drive is to find the edge of something and then throw myself over it.”

“I saw no reason why you couldn't create a work of pornography that adhered to all the same standards as the best art or literature. The big difference between art and pornography is that art, at its best, makes you feel less alone. You see a painting or read a piece of writing that expresses a thought that you had but didn't express, and you suddenly feel less alone. Pornography, on the other hand, tends to engender feelings of self-disgust, isolation and wretchedness. I wanted to change that.”

“I like a film where you can see every penny of the budget up there on the screen.”

“Most of the people who get sent to die in wars are young men who've got a lot of energy and would probably rather, in a better world, be putting that energy into copulation rather than going over there and blowing some other young man's guts out.”

“Memories so treacherous…”