“Men conceal the past scenes of their lives.”

Some species increase, others diminish, and in a short space the generations of living creatures are changed and, like runners, pass on the torch of life.

So it is more useful to watch a man in times of peril, and in adversity to discern what kind of man he is; for then at last words of truth are drawn from the depths of his heart, and the mask is torn off, reality remains.

It is a pleasure for to sit at ease Upon the land, and safely for to see How other folks are tossed on the seas That with the blustering winds turmoiled be.

It is pleasurable, when winds disturb the waves of a great sea, to gaze out from land upon the great trials of another.

Life is one long struggle in the dark.

The mask is torn off, while the reality remains

Confess then, naught from nothing can become, Since all must have their seeds, wherefrom to grow, Wherefrom to reach the gentle fields of air.

For out of doubt In these affairs ’tis each man’s will itself That gives the start, and hence throughout our limbs Incipient motions are diffused.

The highest summits and those elevated above the level of other things are mostly blasted by envy as by a thunderbolt.

The water hollows out the stone, not by force but drop by drop.

You may complete as many generations as you please during your life; none the less will that everlasting death await you.

What can give us more sure knowledge than our senses? How else can we distinguish between the true and the false?

Thus the sum Forever is replenished, and we live As mortals by eternal give and take. The nations wax, the nations wane away; In a brief space the generations pass, And like to runners hand the lamp of life One unto other.

All things around, convulsed with violent thunder, seem to tremble, and the mighty walls of the capacious world appear at once to have started and burst asunder.

So, little by little, time brings out each several thing into view, and reason raises it up into the shores of light.

And life is given to none freehold, but it is leasehold for all.

I don’t see myself as a documentary photographer. I am more drawn to the image itself, rather than to the description of a scene. And, anyway, every image only halfway represents reality, whereas the other half is rather, more or less, fulfilling our imagination.

I hope to be on the scene for a long time. I’d love to be old and gray and still be working in this [horror] genre.

Before this country came on the scene, for thousands of years people did things the same way. Within 200 years of the advent of this nation, men were walking on the moon, and I want us to recognize this is the kind of people that we are. We’re creative with a lot of ingenuity and a lot of energy.

It is dangerous to let the public behind the scenes. They are easily disillusioned and then they are angry with you, for it was the illusion they loved.

I couldn’t get a job to save my life. That’s why I wrote ‘Road to Paloma.’ That got into Sundance and got into that scene, and that’s how I got the role in ‘The Red Road.’

In ‘Fighting With My Family,’ there’s a scene where I have to wrestle; I have to do the famous fight between Paige and AJ Lee.

I am told that today rather more than 60 per cent of the men who go to university go on a Government grant. This is a new class that has entered upon the scene. It is the white-collar proletariat. They do not go to university to acquire culture but to get a job, and when they have got one, scamp it.

The memories of childhood are like clear candles in an acre of night, illuminating fixed scenes from surrounding darkness.