“I am a poet in deeds--not often in words.”
― Ian Fleming, quote from Goldfinger
“Mr Bond, they have a saying in Chicago: 'Once is happenstance. Twice is coincidence. The third time it's enemy action'.”
― Ian Fleming, quote from Goldfinger
“Smoking I find the most ridiculous of all the varieties of human behavior and practically the only one that is entirely against nature. Can you imagine a cow or any animal taking a mouthful of smoldering straw then breathing in the smoke and blowing it out through its nostrils?”
― Ian Fleming, quote from Goldfinger
“It was the short men that caused all the trouble in the world.”
― Ian Fleming, quote from Goldfinger
“Unfortunately most ways of making big money take a long time. By the time one has made the money one is too old to enjoy it.”
― Ian Fleming, quote from Goldfinger
“...Goldfinger could not have known that high tension was Bond's natural way of life and that pressure and danger relaxed him.”
― Ian Fleming, quote from Goldfinger
“Prohibition is the trigger of crime.”
― Ian Fleming, quote from Goldfinger
“Bond came to the conclusion that Tilly Masterton was one of those girls whose hormones had got mixed up. He knew the type well and thought they and their male counterparts were a direct consequence of giving votes to women and 'sex equality.' As a result of fifty years of emancipation, feminine qualities were dying out or being transferred to the males. Pansies of both sexes were everywhere, not yet completely homosexual, but confused, not knowing what they were. The result was a herd of unhappy sexual misfits--barren and full of frustrations, the women wanting to dominate and the men to be nannied. He was sorry for them, but he had no time for them.”
― Ian Fleming, quote from Goldfinger
“I don’t drink tea. I hate it. It’s mud. Moreover it’s one of the main reasons for the downfall of the British Empire. Be a good girl and make me some coffee.”
― Ian Fleming, quote from Goldfinger
“Bond had taken her to the station and had kissed her once hard on the lips and had gone away. It hadn't been love, but a quotation had come into Bond's mind as his cab moved out of Pennsylvania station: 'Some love is fire, some love is rust. But the finest, cleanest love is lust.”
― Ian Fleming, quote from Goldfinger
“The difference between a good golf shot and a bad one is the same as the difference between a beautiful and a plain woman --a matter of millimetres.”
― Ian Fleming, quote from Goldfinger
“clean-shaven and dressed in the conventional disguise with which Brooks Brothers cover the shame of American millionaires.”
― Ian Fleming, quote from Goldfinger
“James Bond, with two double bourbons inside him, sat in the final departure lounge of Miami Airport and thought about life and death.”
― Ian Fleming, quote from Goldfinger
“Bond slowly, wearily bent his head and looked at the ground between his spread hands. It was the girl, Tilly. She was watching the buildings below. She had a rifle – a rifle that must have been among the innocent golf clubs – ready to fire on them. Damn and blast the silly bitch!”
― Ian Fleming, quote from Goldfinger
“What an extraordinary difference there was between a body full of a person and a body that was empty! Now there is someone, now there is no one.”
― Ian Fleming, quote from Goldfinger
“It was the puritan in him that couldn’t take it.”
― Ian Fleming, quote from Goldfinger
“It was as if Goldfinger had been put together with bits of other people’s bodies.”
― Ian Fleming, quote from Goldfinger
“Bond broke into his warehouse one night and left a thermite bomb. He then went and sat in a café a mile away and watched the flames leap above the horizon of roof-tops and listened to the silver cascade of the fire-brigade bells.”
― Ian Fleming, quote from Goldfinger
“I wouldn’t be surprised if in fifty years’ time we have not totally exhausted the gold content of the earth!”
― Ian Fleming, quote from Goldfinger
“Social errors made no impression on Bond,”
― Ian Fleming, quote from Goldfinger
“Slowly the red dawn broke over the endless plain of black grass that gradually turned to the famous Kentucky blue as the sun ironed out the shadows.”
― Ian Fleming, quote from Goldfinger
“The gloomy hall was also the main living-room. A meagre fire flickered behind the fire-irons in the wide hearth and two club chairs and a Knole sofa stood impassively watching the flames. Between them on a low settee was a well-stocked drink tray. The wide spaces surrounding this spark of life were crowded with massive Rothschildian pieces of furniture of the Second Empire, and ormolu, tortoiseshell, brass and mother-of-pearl winked back richly at the small fire. Behind this orderly museum, dark panelling ran up to a first-floor gallery which was reached by a heavy curved stairway to the left of the hall. The ceiling was laced with the sombre wood-carving of the period.”
― Ian Fleming, quote from Goldfinger
“Oddjob turned and walked stolidly back towards them. When he was half way across the floor, and without pausing or taking aim, he reached up to his hat, took it by the rim and flung it sideways with all his force. There was a loud clang. For an instant the rim of the bowler hat stuck an inch deep in the panel Goldfinger had indicated, then it fell and clattered on the floor. Goldfinger smiled politely at Bond. ‘A light but very strong alloy, Mr Bond. I fear that will have damaged the felt covering, but Oddjob will put on another.”
― Ian Fleming, quote from Goldfinger
Ian Fleming
Born place: in Mayfair, London, England
Born date May 28, 1908
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“Maybe we all just exist, all versions of us exist at times, and we have to figure out a way to get to each of them, to find each one and tell that version that it's okay, that it's all justthe way it works, a concept too powerful to ignore but too complicated to explain.”
― John Corey Whaley, quote from Noggin
“It was amazing how flowers could grow in the damnedest places”
― Linda Howard, quote from After the Night
“I think that maybe, if human beings have souls, that maybe their souls are in their eyes. That maybe that’s what the color is. Their souls."
"Well, they say the eyes are the windows to the soul."
"No, that’s not what I mean. I mean, the actual color is kind of like your spirit, like your soul. And the black space, maybe the black space is the tunnel that people talk about when they die. Do you know what I mean? Like when you die, you go into the eyes of the person you’re looking at and walk through their eyes and, at the other end, that’s where heaven is.”
― Brent Runyon, quote from The Burn Journals
“Co się tyczy [paryskich] bulwarów, to w ogóle nie można po nich chodzić. Wszyscy zasuwają z burdelu do kliniki, a z kliniki z powrotem do burdelu. A dokoła jest tyle trypra, że ledwie można złapać dech. Kiedyś wypiłem trochę i poszedłem Polami Elizejskimi - a dokoła było tyle trypra, że ledwie powłóczyłem nogami. Zobaczyłem dwoje znajomych: on i ona, oboje jedzą kasztany, bardzo starzy oboje. Gdzieś ich już widziałem? W gazetach? Nie pamiętam, ale poznałem: Louis Aragon i Elsa Triolet. "Ciekawe - błysnęła mi myśl - skąd idą: z kliniki do burdelu czy z burdelu do kliniki?" I sam sobie przerwałem: "Wstydziłbyś się. Jesteś w Paryżu, a nie w Chrapuszowie. Zadaj im lepiej pytania o sprawy społeczne, o najbardziej palące sprawy."
Doganiam Louisa Aragona i zaczynam mówić, otwierając przed nim serce. Mówię, że jestem zdesperowany, ale nie mam najmniejszych wątpliwości, że umieram od nadmiaru węwnętrznych sprzeczności, i dużo różnych takich. A on spogląda na mnie, salutuje mi jak stary weteran, bierze swą Elsę pod rękę i idzie dalej. Ja znów ich doganiam i zwracam się tym razem już nie do Louisa, lecz do Triolet. Mówię, że umieram na brak wrażeń, że gdy przestaję rozpaczać, ogarniają mnie wątpliwości, gdy tymczasem w chwilach rozpaczy w nic nie wątpiłem... A ona tymczasem, jak stara kurwa, poklepała mnie po policzku, wzięła pod rączkę swojego Aragona i poszła dalej.
Potem, rzecz jasna, dowiedziałem się z prasy, że to wcale nie byli oni, tylko Jean-Paul Sartre i Simone de Baeuvoir, ale jaka to teraz dla mnie różnica! Poszedłem do Notre-Dame i wynająłem tam mansardę. Mansarda, facjatka, oficyna, antresola, strych - ciągle to wszystko mylę i nie widzę różnicy. Krótko mówiąc, wynająłem miejsce, w którym można leżeć, pisać i palić fajkę. Wypaliłem dwanaście fajek i odesłałem do "Revue de Paris" mój esej pod francuskim tytułem "Szyk i blask - immer elegant". Esej na temat miłości.
A wiecie przecież, jak trudno jest we Francji pisać o miłości. Dlatego że wszystko, co dotyczy miłości, zostało już we Francji dawno napisane. Tam wiedzą o miłości wszystko, a u nas nic. Spróbujcie u nas komuś ze średnim wykształceniem pokazać twardy szankier i zapytać: "Jaki to szankier, twardy czy miękki!" - na pewno strzeli: "Jasne, że miękki." A jak zobaczy miękki, to już zupełnie straci orientację. A tam - nie. Tam mogą nie wiedzieć, ile kosztuje dziurawcówka, ale jeśli już szankier jest miękki, to będzie takim dla każdego i nikt go nie nazwie twardym...
Krótko mówiąc, "Revue de Paris" zwróciło mi esej pod pretekstem, że został napisany po rosyjsku, a francuski był tylko tytuł. Wypaliłem więc na antresoli jeszcze trzynaście fajek i stworzyłem nowy esej, również poświęcony miłości. Tym razem cały tekst od początku do końca był napisany po francusku, a rosyjski był jedynie tytuł: "Skurwysyństwo jako najwyższe i ostatnie stadium kurestwa." I posłałem tekst do "Revue de Paris".
[Znów mi go zwrócili.] Styl, powiedzieli, znakomity, natomiast główna myśl - fałszywa. Być może, powiedzieli, da się to zastosować do warunków rosyjskich, ale nie francuskich. Skurwysyństwo, powiedzieli, wcale nie jest u nas stadium najwyższym i bynajmniej nie ostatnim. U was, Rosjan, powiedzieli, kurestwo, które osiągnie granice skurwysyństwa, zostanie przymusowo zlikwidowane i zastąpione przez programowy onanizm. Natomiast u nas, Francuzów, nie jest wprawdzie w przyszłości wykluczone organiczne zrastanie się pewnych elementów rosyjskiego onanizmu, potraktowanego bardziej swobodnie - z naszą ojczystą sodomią, będącą efektem transformacji skurwysyństwa za pośrednictwem kazirodztwa; jednakże owo zrastanie się nastąpi na gruncie naszego tradycyjnego kurestwa, mając charakter absolutnie permanentny.”
― Venedikt Erofeev, quote from Moscow to the End of the Line
“I daresay Freddy might not be a great hand at slaying dragons, but you may depend upon it none of those knight-errants would be able to rescue one from a social fix, and you must own, Meg, that one has not the smallest need of a man who can kill dragons!”
― Georgette Heyer, quote from Cotillion
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