Bruce Robinson · 144 pages
Rating: (390 votes)
“Those with the money are eccentric. Those without, insane.”
― Bruce Robinson, quote from Withnail and I: The Screenplay
“We are indeed drifting into the arena of the unwell.”
― Bruce Robinson, quote from Withnail and I: The Screenplay
“I don't advise a haircut, man. All hairdressers are in the employment of the government. Hairs are your aerials. They pick up signals from the cosmos, and transmit them directly into the brain. This is the reason bald-headed men are uptight.”
― Bruce Robinson, quote from Withnail and I: The Screenplay
“We've gone on holiday by mistake”
― Bruce Robinson, quote from Withnail and I: The Screenplay
“BALLS! We want the finest wines available to humanity. We want them HERE, and we want them NOW.”
― Bruce Robinson, quote from Withnail and I: The Screenplay
“Dostoyevsky described hell as perhaps nothing more than a room with a chair in it. This room has several chairs. A young man sits in one.”
― Bruce Robinson, quote from Withnail and I: The Screenplay
“Here. Hare. Here. Here hare here!”
― Bruce Robinson, quote from Withnail and I: The Screenplay
“Withnail: This is ridiculous. Look at me, I'm 30 in a month and I've got a sole flapping off my shoe.
Marwood: It'll get better, it has to.
Withnail: Easy for you to say, luvvie, you've had an audition. Why can't I have an audition? It's ridiculous. I've been to drama school. I'm good looking. I tell you, I've a fuck sight more talent that half the rubbish that gets on television. Why can't I get on television?
Marwood: Well, I don't know. It'll happen.
Withnail: Will it? That's what you say. The only programme I'm likely to get on is the fucking news.”
― Bruce Robinson, quote from Withnail and I: The Screenplay
“You have done something to your brain. You have made it high. If I lay 10 mls of diazepam on you, it will do something else to your brain. You will make it low. Why trust one drug and not the other?”
― Bruce Robinson, quote from Withnail and I: The Screenplay
Bruce Robinson
Born place: in Broadstairs, Kent, The United Kingdom
Born date May 2, 1946
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“He’d pushed it back, where he’d kept the thought for weeks, but it wouldn’t stay. Wouldn’t stop. Wouldn’t let him go.”
― Veronica Rossi, quote from Through the Ever Night
“Alex, open your eyes. Come on, baby, open those eyes."
I really wanted to, because for him I'd do anything. Fight a horse of half-blood daimons? There. Tangle with ticked-off furies? Sign me up. Break a dozen or so rules for one forbidden kiss? Done. Open my eyes? Apparently that was asking too much.”
― Jennifer L. Armentrout, quote from Sentinel
“Writers are damned liars. Every single one of them.”
― Jennifer Donnelly, quote from A Northern Light
“Elayne could not help herself. Nynaeve wielding her tongue like a needle, Cerandin stubborn as two mules, and now this. She threw back her head and screamed with frustration.
When the sound died, it seemed as if the animals had quieted. Horse handlers stood about, staring at her. Coolly, she ignored them. Nothing could worm its way under her skin now. She was as calm as ice, perfectly in control of herself.
“Was that a cry for help,” Birgitte said, tilting her head, “or are you hungry? I suppose I could find a wet nurse in—”
Elayne strode away with a snarl that would have done any of the leopards proud.”
― Robert Jordan, quote from The Fires of Heaven
“I have sometimes thought that the mere hearing of those songs would do more to impress some minds with the horrible character of slavery, than the reading of whole volumes of philosophy on the subject could do.
I did not, when a slave, understand the deep meaning of those rude and apparently incoherent songs. I was myself within the circle; so that I neither saw nor heard as those without might see and hear. They told a tale of woe which was then altogether beyond my feeble comprehension; they were tones loud, long, and deep; they breathed the prayer and complaint of souls boiling over with bitterest anguish. Every tone was a testimony against slavery, and a prayer to God for deliverance from chains. The hearing of those wild notes always depressed my spirit, and filled me with ineffable sadness. I have frequently found myself in tears while hearing them. The mere recurrence to those songs, even now, afflicts me; and while I am writing these lines, an expression of feeling has already found its way down my cheek. To those songs I trace my first glimmering conception of the dehumanizing character of slavery. I can never get rid of that conception. Those songs still follow me, to deepen my hatred of slavery, and quicken my sympathies for my brethren in bonds. If any one wishes to be impressed with the soul-killing effects of slavery, let him go to Colonel Lloyd's plantation, and, on allowance-day, place himself in the deep pine woods, and there let him, in silence, analyze the sounds that shall pass through the chambers of his soul, - and if he is not thus impressed, it will only be because "there is no flesh in his obdurate heart."
I have often been utterly astonished, since I came to the north, to find persons who could speak of the singing, among slaves, as evidence of their contentment and happiness. It is impossible to conceive of a greater mistake. Slaves sing most when they are most unhappy. The songs of the slave represent the sorrows of his heart; and he is relieved by them, only as an aching heart is relieved by its tears. At least, such is my experience. I have often sung to drown my sorrow, but seldom to express my happiness. Crying for joy, and singing for joy, were alike uncommon to me while in the jaws of slavery. The singing of a man cast away upon a desolate island might be as appropriately considered as evidence of contentment and happiness, as the singing of a slave; the songs of the one and of the other are prompted by the same emotion.”
― Frederick Douglass, quote from Narrative of the Life of Frederick Douglass
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