Pop music, across its countless iterations, is a vast, amazing, thrilling art form. All life is in it. It stands for itself. The same is true of literature, but nobody feels compelled to toss Philip Roth a grammy just to prove it.
I do think that this represents a kind of shift towards myth, a recovery of myth, largely through the popularity of writers like Philip Pullman. Somehow myths have returned as a serious subject. It used to be scorned...really scorned. It was part of a nursery tradition, and it was also rather tainted - but not in an immovable way - by the association with right-wing ideologies after the World Wars.
Different influences at different times in my career, and some have stayed with me more, some less. Chester Himes. Ralph Dennis, who wrote a series called Hardman which is a big influence on the Hap and Leonard novels. Harlan Ellison, Philip Jose Farmer, Gerald Kersh, Fredrick Brown, Robert Bloch, and I'm just getting started. I read constantly. As for the epic Western, that's Paradise Sky.
Philip Larkin didn't write for several years before his life ended. And when he was asked why he didn't write, he said the muse deserted him. And when I read that, it really had a profound effect upon me, sort of scared me. So that's why I think I have no right to assume that some thought is going to come... But I think, in my imagination, if it is it, there will probably be something else I'm interested in.
Do you know why I married you, Philip?" "Presumably you wanted the financial security and social prestige I could offer." She chuckled at that and shook her head..."I believed," she confessed somberly, "I honestly believed that I had something to offer you too--something you needed. Do you know what it was?" "I can't imagine." "I thought I could teach you how to laugh and enjoy life." Philip and Caroline
When I had my confirmation hearing for the Court of Appeals, [my son] Philip was 3 years old. And when I was called up to the chair he took it upon himself to run up and sit next to me in case any hard questions came up.
It is not that fathers are better or worse, not that they are more loved or criticized, but rather that they are viewed with far less intensity. There is no Philip Roth or Woody Allen or Nancy Friday who writes about fathers with a runaway excess of humor, horror ... feeling. Most of us let our fathers off the hook.
I haven't seen so much tippy-toeing around since the last time I went to the ballet. When members of the arts community were askedthis week about one of their biggest benefactors, Philip Morris, and its requests that they lobby the New York City Council on the company's behalf, the pas de deux of self- justification was so painstakingly choreographed that it constituted a performance all by itself.
I had brief glimpses of emotional catharsis while writing. I remember reading something Philip Roth wrote about how he writes every single day, but it's almost as if he has amnesia every morning - he has almost zero confidence that anything will come but he just sits down and plugs away. And at the end of the day it feels like a miracle: "How did I do that?" I had a similar experience where it was just about putting in the hours and being present.
Most people early achieve and later intensify a tendency to process new and disconfirming information so that any original conclusion remains intact. They become people of whom Philip Wylie observed: "You couldn't 't squeeze a dime between what they already know and what they will never learn."
You know that scene at the beginning (of 'Pirate Radio') where I take The Count a cup of tea in the studio, and he shakes my hand, gives me a hug, and slaps me on the arse? That's genuinely the first time Tom Sturridge met Philip Seymour Hoffman. Literally, I'd hadn't seen him or exchanged words with him before. Richard just called me on set and said, 'Take him a cup of tea.' So that's what I did. And the smile of delight as he slaps me on the arse is purely mine.
When we came along there was only Decca, Philips and EMI who could really produce a record for you. You had to go through the whole bureaucracy to get into the recording studio. You were in such a humble position, you didn't have more than 12 hours to make a whole album, which is what we did in the early days.
Down is an incredibly important band to me. And there's one other project that may be a little tough for people to understand - it's not sonically heavy, but subject-wise it's absolutely heavy. It's a band that I've been in for many, many yearsm and I've just been waiting for the right itme, and boy, it sure is the right time. So, yeah, you will hear music from Philip Anselmo again, and it ain't gonna be nothing nice.
The quantum death of Philip Seymour Hoffman. 24 hours before he was "officially" declared dead it was announced on the internet that he had already died. Many people were shocked to hear of his "official" death, especially those who had believed he was already dead. Philip Seymour Hoffman was both dead and alive in the minds of millions simultaneously. A rare death for a rare actor.
I sense a kind of fear of writing black or Asian characters from non-ethnic writers, who perhaps feel that they don't know the culture and therefore can't write about it. By and large, if there's an Asian character, I might get a call. But if the character is called 'Philip,' the chances are I won't.
Philip Martin has written a wise, compassionate, and nurturing guide through the self-oppression of depression.
I was quite pleased that Prince Philip didn't say anything like, I hate queers! He was quite well behaved.
I do like Philip Pullman.And that's an exception because Philip Pullman's books allow magic.
Philip Glass once told me, "They can always copy what you've done, but they can't copy what you're going to do."
Philip Glass, like [Virginia] Woolf, is more interested in that which continues than he is in that which begins, climaxes, and ends... Glass and Woolf have both broken out of the traditional realm of the story, whether literary or musical, in favor of something more meditative, less neatly delineated, and more true to life. For me, Glass [finds] in three repeated notes something of [a] rapture of sameness.
I will not listen to your verse on an empty stomach!" declared the Vicomte. "You have no soul," said Philippe sadly. "But I have a stomach, and it cries aloud for sustenance." "I weep for you," said Philip. "Why do I waste my poetic gems upon you?
Since the majority of me Rejects the majority of you, Debating ends forthwith, and we Divide.'' Philip Larkin
I like science fiction. Arthur C. Clarke, Philip K. Dick and Vonnegut, and I really like Margaret Atwood, The Handmaid’s Tale. And you know, so much of science fiction has to do with predicting what’s to come, so I think that’s really interesting.
Shifting Philip Morris to the new a non-risk products doesn't mean that I will give market share to my competitors free of charge. In the markets where we are not present with IQOS yet or the other reduced-risk products, you still need to defend your share of the market. They still represent the bulk of our income, and so far they have financed the billions of dollars we have put behind these new products. But once we go national in a market, and absent capacity constraints, then you shift your resources and your focus to these new products.
You've been brought up like a gentleman and a Christian, and I should be false to the trust laid upon me by your dead father and mother if I allowed you to expose yourself to such temptation.' Well, I know I'm not a Christian and I'm beginning to doubt whether I'm a gentleman,' said Philip.
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