The camera lens or the television camera is still just a proscenium arch. And as a great old character actor once said to me, wherever you're acting, you reach up and take hold of the proscenium arch, and you pull it down around your shoulders.
Saddam Hussein was fascinated by ancient Babylon and Assyria. He made money available to protect and develop the great archaeological sites. The great achievements of Mesopotamian civilisation were pressed into the service of the Ba'athist regime.
When talking about writing, I often use the analogy of archaeology. There are these great tunes all around. Your skill as a musician allows you to pick them out without breaking them.
The most exciting moment as an archaeologist happened when I was looking at the great archaeology site of Tannis, which of course we all know from 'Indiana Jones.' We got satellite imagery of the city of Tannis, we processed it, and literally from thousands of miles away from my lab in Alabama, we were able to map the entire city.
Personal identity seems like it's just such an American archetype, from Holly Golightly re-inventing herself in 'Breakfast At Tiffany's' to Jay Gatsby in 'The Great Gatsby.' It seems like the sort of archetypal American issue. If you're given the freedom to be anything, or be anyone, what do you do with it?
You have to think of your brand as a kind of myth. A myth is a compelling story that is archetypal, if you know the teachings of Carl Jung. It has to have emotional content and all the themes of a great story: mystery, magic, adventure, intrigue, conflicts, contradiction, paradox.
Tons of folktales have to do with hares and witches. Basically, witches all over Europe turn into hares and are able to do malevolent things in the form of a hare. It goes back to the great god Pan. Pan is, if we're going to do archetypal projections, related to the Christian Satan, but as a child, Pan was wrapped in a hare's hide.
There's a great deal of tension between so many kind of distinctive and restrictive female archetypes and images in the world. When you play with the archetypes, you get free.
Every great architect is - necessarily - a great poet. He must be a great original interpreter of his time, his day, his age.
A great architect is not made by way of a brain nearly so much as he is made by way of a cultivated, enriched heart.
No person who is not a great sculptor or painter can be an architect. If he is not a sculptor or painter, he can only be a builder.
The Renaissance is studded by the names of the artists and architects, with their creations recorded as great historical events.
I guess I can't be a great architect. Great architects have a recognizable style. But if every building I did were the same, it would be pretty boring.
All architecture is great architecture after sunset; perhaps architecture is really a nocturnal art, like the art of fireworks.
A great building must begin with the unmeasurable, must go through measurable means when it is being designed and in the end must be unmeasurable.
Color in certain places has the great value of making the outlines and structural planes seem more energetic.
Great buildings that move the spirit have always been rare. In every case they are unique, poetic, products of the heart.
I remember 'The Norfolk Journal and Guide,' which is a black newspaper that still exists, but it was really influential, as you can imagine, in the Forties, Fifties, and Sixties. But all of their archives are online and digitized, and it was a really great resource.
There might be children in Somalia or the Arctic who have never heard of 'Hamlet' or the 'Great Gatsby.' But you can bet they know 'Tarzan.'
He had no failings which were not owing to a noble cause; to an ardent, generous, perhaps an immoderate passion for fame; a passion which is the instinct of all great souls.
