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#889 Kenneth Moe
"Er lykke noe vi først oppfatter o ettertid? Merker vi slett ikke at vi er lykkelige når det skjer? Er det noe vi først blir klar over mye senere, at vi var det?"
#890 Kenneth Moe
For det var det eneste tragiske ved bøker: De forandret mennesker. Bare ikke de virkelig slemme. De ble ikke bedre fedre, snillere ektemenn, mer omsorgsfulle venninner. De fortsatte å være tyranner, å plage sine ansatte, barn og hunder, de var ondskapsfulle i det små og frydet seg når ofrene deres skammet seg. "Bøkene var vennene mine," sa Catherine og kjølte kinnene, som var blussende røde etter matlagingen, mot vinglasset. "Jeg tror jeg har lært alle følelsene minebøker. I dem har jeg elsket og ledd og visst mer enn jeg noen gang har gjort i hele mitt uleste liv." "Jeg også," mumlet Perdu.
#1511 Kenneth Moe
En vennfar min sa: Livet er som et banklån. Uansett hvor mye du betaler ned på det, kommer du ikkeflekken.
#2882 Kenneth Moe
We usually divide cinema and television programmes into two classes -- good and bad. The term good here means technically good and does not refer to morals. The good pictures are the serious ones, the artistic ones; the ones with good shots. The bad are simply escapist, romantic, only for entertainment. But if we examine them with care we will notice that the good pictures are actually the worst. The escapist film may be horrible in some ways, but the so-called good pictures of recent years have almost all been developed by men holding the modern philosophy of meaninglessness. This does not imply they have ceased to be men of integrity, but it does mean that the films they produce are tools for teaching their beliefs.
#2883 Kenneth Moe
Four outstanding modern film producers are Fellini and Antonioni of Italy, Slessinger of England, and Bergman of Sweden. Of these four producers Bergman has, in the past, perhaps given the clearest expression of the contemporary despair. He deliberately developed the flow of his pictures, that is, the whole body of his movies rather than just individual films, in order to teach existentialism.
#2884 Kenneth Moe
His existentialist films extended up to, but do not include,the Silence. This film is a statement of utter nihilism.
#2885 Kenneth Moe
Man, in this picture, does not even have the hope of authenticating himself by an act of the will. The Silence is a series of snapshots with immoral and pornographic themes. The camera just takes them without any comment, Click, click, click, cut! That is all there is. Life is like that: unrelated, having no meaning as well as no morals.
#3065 Kenneth Moe
She had rooms in her mind that she would not look into.
#3075 Kenneth Moe
«mørket er for planer, lyset for unnfallenhet» (fra Det røde huset).
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