“this is what got me into thinking about what is film, and what is imagery. when the plot is not perfectly and completely constructed, that is, when the main purpose of the movie is not to tell a story and there is no famous star involved, things are different. under such plain and ordinary circumstances, you suddenly come to realize the true meaning of cinema. and that is exactly what i expect my own work to be. the storyline might be plain, but it is meant to carry the power of imagery, so as to reveal the essence of cinema.”—tsai ming-liang, in a talk given to students at national central university, 26 may 2009
“People watch this shit and find it inspirational,” Maher later lamented, before telling the poor, “America’s rich aren’t giving you money—they’re taking your money!” and citing a statistic that claims 80% of the income generated in America between 1980-2005 went to the top 1% of earners.
“Using tactics that trample on the traditions of our Legislature, the Republican leadership has betrayed our state. Republicans have rubber-stamped the desire of the Koch Brothers and their godshead Scott Walker to cripple Wisconsin’s middle class and lower benefits and wages for every single wage-earner in our state. The vote does nothing to create jobs, does nothing to strengthen our state, and shows finally and utterly that this never was about anything but raw political power. We now put our total focus on recalling the eligible Republican senators who voted for this heinous bill. And we also begin counting the days remaining before Scott Walker is himself eligible for recall.”—wisconsin democratic chair mike tate, responding to the the use of a ‘nuclear option’ this evening by wisconsin republicans in order to strip public unions of collective bargaining rights, reduce their pensions, and increase their health insurance co-pay
“modern art in general accepts the idea of playing with the materials of the work. the modern artist plays with paint; in a similar fashion the novelist plays with the material of the novel, and the filmmaker plays with the material of the film. obviously, this playfulness is part of the creative process, and it is also part of the contact with the public. the work of art invites the audience to play with the film and, beyond that, to play with their own lives.”—alain robbe-grillet, the erotic dream machine: interviews with alain robbe-grillet on his films (1995)