Clergyman's

“You’re a disaster for us, Clary! You’re a mundane, you’ll always be one, you’ll never be a Shadowhunter! You don’t know how to think like we do, think about what’s best for everyone– all you think about is yourself! But there’s a war now, or there will be, and I don’t have time or the inclination to follow around after you, trying to make sure you don’t get us killed! Go home, Clary. Go home!”
— Cassandra Clare

“When an artist is asked to speak about form, you expect something different than when a critic talks about it. Because you think that somewhere between sentences and words, the secret will slip out. I am trying to give you that secret; it isn’t a secret at all, but it is building solidly, not using secrets. I had been trying to extend into metaphysical extension; that film is changing, metamorphic; that is, infinite; the idea that the movement of life is totally important rather than a single life. My films were built on an incline, an increase in intensity. I hoped to make a form which was infinite, the changingness of things. I thought I would want to find a total form which conveyed that sense, particularly in reference to an Oriental subject. My impression was: one is walking down a corridor of a hotel. One hears a sound, opens a door and a man is playing; one listens for three minutes and closes the door. The music went on before you opened the door and it continues after you close the door. There was neither beginning nor end. Western music increases in intensity to a climax and then resolves itself. Oriental music is infinite; it goes on and on. The Chinese theater goes on for hours and hours with time for lunch moving scenery, etc.”
— Maya Deren

“It’s just going to add to him thinking that I am a crazy, wanky, greenie, hybriddriving hippie,” I complained.”Has he seen your bomb of a car?” Fran asked in disbelief. “Greenpeace arranges a protest every time it leaves your driveway.”
— Sean Kennedy