When I was growing up in the mid-'50s, the Roaring Twenties were a huge part of the culture. There were a number of films and a bunch of television shows that dealt with the mythology of the underworld from that period.
Where the underworld can meet the elite, Forty-Second Street.
In a way, that's also a recognition that Dante needs Virgil and that the Inferno needs the Aeneid and that the epic needs a model and that for Dante to write this great poem he needs someone to come before him and he turns to Virgil's text, especially book six where Aeneas goes down into the underworld. And for me, that's a model of the poet's relationship to previous poetry, to another poetry as calling out for guidance.
It's unsettling, to lose the safety of the familiar, even when what's disrupted is an ordinary routine. When I began this poem, I was grieving for the loss of my old barbershop in Manhattan, and wondering at the strangeness of my new one. I didn't have any idea the poem would break into the underworld, opening a deeper subject: the continuing force of the old griefs routine helps to mediate, and my strange, sheer wonder at my own survival. Where's home now? In the contingent present, in which anything can disappear, and where we're sometimes granted some form of grace.
I loved the role [of John Wick]. I loved the action. I loved all the new characters. The world expands into the Underworld. It's getting bigger. Yeah, it was a really great experience [in John Wick 2].
A great model for this is the way that Dante calls on Virgil at the beginning of 'The Inferno,' 'The Divine Comedy,' to help guide him through the underworld.
I'd just like to think that there's some kind of underworld where whoever's been lost at sea is there... I dunno, there probably isn't, but I'd like to believe there is.
Whenever someone asks me about fantasy versus realism, I'm like, "I don't know, guys. Did we not all just descend into some underworld, watch strangers from our past kaleidoscope through us according to some pattern that is both illogical and has its own strange melting truth, and then wake up and have a Pop-Tart?" Why are we talking about fantasy and reality like they're opposed?
The other side of the "sacred" is the sight of your beloved in the underworld, dripping with maggots.
A lot of people don't put the numbers together correctly. But Underworld, honestly, the way it came about - the real way it came about - I took a meeting with Dimension, and they were looking to do just a werewolf movie, and I wasn't too interested in doing just a werewolf movie.
I hadn't really met Colin [Farell]. It's really weird to say: 'Oh, hello, I'm Kate...I'm Colin.. shall we?' That's a bit strange. Len was fine with it. We've gone through this experience with Scott Speedman before on the first Underworld move. It was our little version of swinging. We survived that.
We've learned a lot from the great psychologists. Wilhelm Reich wrote about the relationship between fascism and sexual repression. Freud rediscovered the underworld of consciousness that European rationalism had denied. But when you have a nation of people in therapy and counselling, "support" groups for every kind of human condition, where, in the clichés of that milieu, people "share" and "heal," the question, "What for?", "What now?" is no longer asked.
I love the Underworld movies because the vampires arent automatically evil, yet neither are they basically humans with fangs.
I didn't want us to abnormal. I didn't want all this chaos and underworld crap... but that's where we'd come from. The choas was part of us. Part of what we were. And I was afraid if we lost it completely, we might lose part of ourselves.
Our characteristic response to the mutilated statue, the bronze dug up from the earth, is revealing. It is not that we prefer time-worn bas-reliefs, or rusted statuettes as such, nor is it the vestiges of death that grip us in them, but those of life. Mutilation is the scar left by the struggle with Time, and a reminder of it - Time which is as much a part of ancient works of art as the material they are made of, and thrusts up through the fissures, from a dark underworld, where all is at once chaos and determinism.
I, for one, will not have [the Vietcong] insulted by any comparison to the forces of Zarqawi, the Fedayeen Saddam, and the criminal underworld now arrayed against us. These depraved elements are the Iraqi Khmer Rouge.
Everyone has his food, and his time of life is reckoned.Their tongues are separate in speech,And their natures as well;Their skins are distinguished,As thou distinguishest the foreign peoples.Thou makest a Nile in the underworld,Thou bringest forth as thou desirestTo maintain the peopleAccording as thou madest them for thyself,The lord of all of them, wearying with them,The lord of every land, rising for them,The Aton of the day, great of majesty.
...the schemes of the International Jews. The adherents of this sinister confederacy are mostly men reared up among the unhappy populations of countries where Jews are persecuted on account of their race... This world-wide conspiracy for the overthrow of civilisation... this band of extraordinary personalities from the underworld of the great cities of Europe and America have gripped the Russian people by the hair of their heads and have become practically the undisputed masters of that enormous empire.
We belong to an age where apocalypse is our daily bread, coffee's black, and we know we're part of the abyss. Red Spider White Web is right on target in conveying that understanding. It splinters in the mind... the underworld of the century's imaginings.
Christmas in the Underworld was NOT my idea. If I'd known what was coming, I would've called in sick. I could've avoided an army of demons, a fight with a Titan, and a trick that almost got my friends and me cast into eternal darkness. But no, I had to take my stupid English exam.
Her parents wanted her to find her own way in life. That’s what they’d said countless times in the past. Of course, they’d been referring to school subjects and college applications and job prospects. Presumably, at no stage did they factor living skeletons and magic underworlds into their considerations. If they had, their advice would probably have been very different.
Writing of the narrative kind, and perhaps all writing, is motivated deep down, by a fear or and fascination with mortality - by a desire to make the risky trip to the underworld and to bring something or someone back from the dead.
Could you please stop with the beating? (Kat) He’s being punished. Hello? This is Tartarus, remember the purpose of this part of the Underworld? We’re not really warm and fluffy over here. (Hades)
Now every mortal has pain and sweat is constant, but if there is anything dearer than being alive, it's dark to me. We humans seem disastrously in love with this thing (whatever it is) that glitters on the earth-- we call it life. We know no other. The underworld's a blank and all the rest just fantasy.
You are not Kaia the Disappointment. Do you hear me? That’s what I was trying to tell you earlier. You are Kaia the Mighty. How many Harpies out there do you think could have brought down the most badass Lord of the Underworld? The same Lord who also happens to be the strongest, sexiest and smartest. And by the way, in case there’s any doubt, I’m describing me.
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