Quotes of All Topics . Occasions . Authors
I first became an Alan Moore fan in Covent Garden on a Saturday afternoon in 1987, when I bought a copy of 'Watchmen,' his graphic novel about ageing superheroes and nuclear apocalypse.
I'm really into sci-fi. I always have been. In addition to that, I've always had a tremendous fascination with the lure of the Apocalypse or Judgment Day or the Mayan calendar, etc., etc.
I've been around long enough now and have learned to be flexible enough to know that every movie isn't going to be 'Apocalypse Now,' and every director doesn't have to be Stanley Kubrick.
I did a lot of films in Europe, in Spain. I went to Australia and did 'Mad Dog Morgan'; I did 'Apocalypse Now' in the Philippines; I did Wim Wenders' film 'The American Friend' in Germany.
So I've always been kind of an apocalyptic kind of kid, and looking back at the movies I've done, there's some kind of apocalypse in them. So that must be what scares me... besides Republicans.
The USDA labs in Ames, Iowa, are level-four security clearance. Every nasty thing you can imagine is stored there. Ground zero for the apocalypse. And there's a day care right across the street.
I have a zombie apocalypse kit at my house. I've got freeze dried food, I've got a real deal medical kit, like, a doctor could perform a surgery with this medical kit. I got all kinds of everything.
We have the patriarch of the Russian Orthodox Church talking about how gay marriage is a sign of the apocalypse, or Russian TV talking about how meteorites are coming to punish Russians for homosexuality.
After the 9/11 apocalypse happened in New York City, people, particularly New Yorkers, who breathed in the ash, or saw the results of that, have a tendency to keep seeing echoes and having flashbacks to it.
Why would you need to expand beyond the solar system if you already have access to all the information you need, and you've essentially insulated yourself against a planetary apocalypse? Maybe that's enough.
If one wants to talk about the end of the world, the apocalypse, you're talking about the world itself. It's not Southern California breaking into the sea. The story is global, and it requires that kind of approach.
With EarthEcho Expedition: Acid Apocalypse, we are working with youth leaders and noted experts on the changing chemistry of our ocean to help illuminate one of our most pressing and inscrutable environmental issues.
It's funny: when I set out to create the world of 'California,' I didn't give the type of apocalypse much thought... I simply set my two characters, Cal and Frida, in a depleted world and moved through it intuitively.
There's something unsettling about the education of a child who comfortably enumerates the rules for surviving zombie apocalypse but finds it uncomfortable to enumerate the rules of his grandparents' faith, if he knows them.
I thought, because of 'The 100' and 'Apocalypse,' that I knew everything about what life after an apocalypse would be - but Ryan Murphy and the writers of 'American Horror Story' have shown a whole other side of an apocalypse.
Elon Musk is worried about AI apocalypse, but I am worried about people losing their jobs. The society will have to adapt to a situation where people learn throughout their lives depending on the skills needed in the marketplace.
Every person should have their escape route planned. I think everyone has an apocalypse fantasy, what would I do in the event of the end of the world, and we just basically - me and Nick - said what would we do, where would we head?
Some of the most common pitfalls I see occur when authors don't check their privilege. Billions are living in a personal apocalypse right this second, so a little research and empathy can go a long way toward developing a convincing world.
Michael Jackson loved epic symbols. In his shows and his videos, he always destroyed or salvaged worlds; he was the hero of parables about street violence, sexual combat, war and natural disaster. It was always apocalypse or apotheosis now.
The Book of Revelation is the strangest book in the Bible, and the most controversial. Instead of stories and moral teaching, it offers only visions - dreams and nightmares, the Four Horsemen of the Apocalypse, earthquakes, plagues and war.
I've really enjoyed B.R.P.D. since its first days when Guy Davis was an artist on the title, and if anyone is looking for an end of the world Cthulhu apocalypse title, Mignola and Arcudi and the artists who work the title do a fantastic job.
Well, I think it's important to have some kind of a narrative engine that pushes the audience through the landscape. But I love films like 'Apocalypse Now,' which is a very mood driven film. It's a magnetic force that's pulling them through.
I'd like to avoid the environmental apocalypse if I could. Zombies, robots - I don't know - I'd probably do alright hidden in the middle of the herd and sacrificing people to keep myself alive, but where you gonna hide when all the food is gone?
I don't know if my father realizes this, but I remember sitting there watching 'Apocalypse Now,' watching Pacino in 'Scarface' and watching James Dean in 'East of Eden' with him. And him he's not in the arts at all just pointing out 'the greats.'
Lyrically, 'Planets' is the precursor to 'Acid Rain'; it's about a meteoric, intergalactic war that results in an apocalypse and the human species aligning together to go fight something much better than us, our individual trials and tribulations.
'Zone One' has one kind of an apocalypse, and 'The Underground Railroad' another. In both cases, the narrators are animated by a hope in a better place of refuge - in the last surviving human outpost, Up North. Does it exist? They can only believe.
Don't get me wrong, magic is cool. But a nervous mother singing to her child at night while something moves quietly through the dark outside her house? That's a story. Handled properly, it's more dramatic than any apocalypse or goblin army could ever be.
There's also some element of coming of age during the Reagan administration, which everybody has painted as some glorious time in America, but I remember as being a very, very dark time. There was apocalypse in the air; the punk rock movement made sense.
I've begun to look at the world through apocalypse eyes. Our society, which seems so sturdily built out of concrete and custom, is just a temporary resting place, a hotel our civilization checked into a couple hundred years ago and must one day check out of.
The U.S. is an optimistic nation. No candidate has ever won the American presidency by speaking primarily to people's deepest fears and by manufacturing a sense of apocalypse - that our leaders 'can't do anything right,' that things are utterly falling apart.
Historically, Vietnam movies have been profitable. All of them. 'Platoon,' 'Full Metal Jacket,' 'Apocalypse Now,' 'The Deer Hunter.' You're looking at movies that have been not pretty successful, but very successful. The foreign numbers have been extraordinary.
What scares me? Oh, now that's a big question. I don't know what scares me - cockroaches, nuclear apocalypse. Fear is an interesting thing. It has a place in all of our lives. I try to be as fearless as possible. I don't always succeed, but I like to think I try.
Basically these are beliefs about apocalypse that we have seen as truth in Western civilization for the last couple of hundred years. So we live according to these "truths" and as a result manifesting a life using those beliefs, which can be very self-destructive.
The digital apocalypse continues to blight the lives of television producers, music-industry executives and newspaper publishers, all of whom are scrambling to figure out how to reconfigure their business models in such a way as to allow them to make an honest buck.
Palmares Tres is a society born out of a distinct, idiosyncratic utopian vision formed in the midst of an apocalypse. I would say the residents of Palmares Tres respect the strength of that history and their remarkable ability to rise from the ashes of the old world.
Before progressives were apocalyptic about climate change they were apocalyptic about nuclear energy. Then, after the Cold War ended, and the threat of nuclear war declined radically, they found a new vehicle for their secular apocalypse in the form of climate change.
If Death Grips isn't the fourth horseman of a hip-hop apocalypse, its music at least tests the genre's threshold of extremity: The trio's abrasive, jittery style teeters on the edge of palatability, and plays toward a morbid curiosity to which many listeners won't succumb.
'Atlanta' is Wild West-y - every corner of the city is trying to get by under its own rules. There's no single narrative. At the outer edges, the overgrown parking lots and project blocks, the city is a few yards away from apocalypse, and if you slow down, it could engulf you.
I used to stay up all night playing 'Resident Evil 2,' and it wouldn't stop until the sun came up. Then I'd walk outside at dawn's first light, looking at the empty streets of London, and it was like life imitating art. It felt like I'd stepped into an actual zombie apocalypse.
There's a lot of speculation on what the zombie apocalypse thing means. I have a feeling that it's kind of an expression of our subconscious fears. I think we know that something big and impossible - some enormous crash, equalizing crash, whatever - may be coming around the corner.
Obviously if you're Coppola going into 'Apocalypse Now' off the back of the two 'Godfathers,' you're in a much better position than coming off the back of something like 'Dust Devil,' which had scarcely been released, and was pretty much lying around in film cans in different places.
We should be concerned about the impact of climate change on vulnerable populations, without question. There is nothing automatic about adaptation. But it's clear that there is simply no science that supports claims that rising sea levels threaten civilization much less the apocalypse.
You've gotta be careful. People don't want to be reminded of Vietnam and Korea. We lost thousands of fine young men and didn't win either of those wars. Nobody wants to hear about them. 'Apocalypse Now' and 'The Deerhunter' weren't box-office hits.There was too much violence and blood and gore.
Changing anything in the past, if you believe it's possible, could alter the entire future of the world, including my own birth, so I'd change nothing. Not a thing. As for the future... I think I'd like to see how it all ends, which is probably why I write about the future apocalypse so frequently.
The show is '12 Monkeys,' and I'm playing the role that Bruce Willis played in the original film '12 Monkeys.' It is a show about time travel. My character is from a future post-apocalypse, and he has been given a mission to go back in time to essentially set things right and stop the apocalypse. No big deal.
People ask me about 'The Hurt Locker' a lot, and it's an incredible piece of filmmaking - as are 'Band of Brothers' and 'Platoon' and 'Full Metal Jacket' and 'Apocalypse Now.' But they're not necessarily true to war in a literal sense. What they are, really, are brilliant movies about Hollywood's idea of war.
During the first million years of its existence, mankind survived five apocalypses without succumbing to extinction. It endured the Apocalypse of Steel, the Apocalypse of Hydrogen, the Apocalypse of Serotonin, and both Apocalypses of Water, the second of which occurred despite certain contracts to the contrary.
I wrote a novel about an economic/environmental collapse titled 'Soft Apocalypse,' and that's definitely the sort I'm best prepared for. To write the novel, I did a lot of reading on what we might expect, so at the first sign, I'm ready to convert all of my assets to gold and ammo and stock up on freeze-dried food.
I had been very impressed with the voiceover of 'Apocalypse Now,' with Martin Sheen's voice. That was a great voiceover; it really internalized the Martin Sheen character, who was essentially fairly low key and didn't say a lot during the whole movie. But he thought a lot, so I always thought that was really great.
Everyone sees something different in 'Endgame': a biblical apocalypse, a portrait of painful co-dependency, a confession of guilt and dignity in the face of death, a night of baffling hopelessness, a meaningless babble. Each interpretation reveals an absurd truth - not about the play, but about the person watching it.