My only grudge against nature was that I could not turn my Lolita inside out and apply voracious lips to her young matrix, her unknown heart, her nacreous liver, the sea-grapes of her lungs, her comely twin kidneys.
Vladimir NabokovRead
IN ANSWER TO THE QUESTION: WHAT SCENES ONE WOULD LIKE TO HAVE FILMED Shakespeare in the part of the King's Ghost. The beheading of Louis the Sixteenth, the drums drowning his speech on the scaffold. Herman Melville at breakfast, feeling a sardine to his cat. Poe's wedding. Lewis Carroll's picnics. The Russians leaving Alaska, delighted with the deal. Shot of a seal applauding.
Interpretation
The quote reflects the interplay of art and life events, suggesting scenes that capture poignant moments through film.
Vladimir Nabokov's quote is a contemplative exploration of the cinematic possibilities surrounding historical and personal scenes that evoke strong emotions and narratives. It highlights the significance of capturing life's moments, both grand and intimate, suggesting that art can immortalize experiences, from the dramatic to the whimsical, through the lens of storytelling.
In practice
In a discussion about film adaptations, one might quote this to emphasize the importance of capturing significant historical moments.
My only grudge against nature was that I could not turn my Lolita inside out and apply voracious lips to her young matrix, her unknown heart, her nacreous liver, the sea-grapes of her lungs, her comely twin kidneys.
Lolita, light of my life, fire of my loins. My sin, my soul. Lo-lee-ta: the tip of the tongue taking a trip of three steps down the palate to tap, at three, on the teeth. Lo. Lee. Ta.
A change of environment is the traditional fallacy upon which doomed loves, and lungs, rely.
But that mimosa grove-the haze of stars, the tingle, the flame, the honey-dew, and the ache remained with me, and that little girl with her seaside limbs and ardent tongue haunted me ever since-until at last, twenty-four years later, I broke her spell by incarnating her in another.
...in my dreams the world would come alive, becoming so captivatingly majestic, free and ethereal, that afterwards it would be oppressive to breathe the dust of this painted life.
I believe the poor fierce-eyed child had figured out that with a mere fifty dollars in her purse she might somehow reach Broadway or Hollywood - or the foul kitchen of a diner (Help Wanted) in a dismal ex-prairie state, with the wind blowing, and the stars blinking, and the cars, and the bars, and the barmen, and everything soiled, torn, dead.
With all art expression, when something is seen, it is a vivid experience, sudden, compelling, and inevitable.
Try to distill the character of your subject. Understand how he moves, thinks, acts. It's difficult to put into words. Consider each drawing as a problem that did not exist before, and then try to solve that problem to the best of your ability. That i what caricature is all about
Few occupations pass the solitary hours more fruitfully than the playing of a musical instrument.
I've been alienating my public since I was 20 years old. When 'American Buffalo' came out on Broadway, people would storm out and say, 'How dare he use that kind of language!' Of course I'm alienating the public! That's what they pay me for.
I enjoy the challenge of trying to say things beautifully. The message is secondary in that sense. Obviously, I have something that I want to say that's very, very important to me - but the process of actually crafting it is essential.
I think we're about ready for a new feeling to enter music. I think that will come from the Arabic world.
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