Richard Morris's Quotes

I never presumed that a technique of composition or an idea was so special that just using it would guarantee the quality of the music.

Well, I don't know any piece by heart, but Mozart goes something like this... What do you think?

I do remember, though, when I discovered the third! I was about five years old - it was a very pleasing sound. I remembered that if I hit one note, then skipped one and played the next, I could get this really good sound.

So many of the sounds that contemporary composers were trying to create were to be found in the traditional musics of the world. That was encouraging but also little daunting to think that you had to work so hard to be new and yet it was old.

By obtaining a sense of its place in the unfolding drama of life, set in an ecological theatre, so we can understand why it has become one of the leading players.

It is difficult to imagine evolution in alien planets operating in any manner other than Darwinian.

Evolution is true, it happens, it is the way the world is, and we too are one of its products. This does not mean that evolution does not have metaphysical implications; I remain convinced that this is the case.

I don't think an alien will be a blob. If aliens are out there they should have evolved just like us. They should have eyes and be walking on two legs. In short if there is any life out there then it is likely to be very similar to us.

If there were a clear prospect that such evils were part of a barbarian past, then at least we might find a small crumb of comfort. No such prospect exists: no scientific analysis can even remotely answer or account for past and present horrors of human behaviour.

It is my opinion that human history can make no sense unless evil doings are recognized for what they are, and that they are bearable only if somehow they may be redeemed.

The Burgess Shale is not unique, but for those who study evolution and fossils it has become something of an icon. It provides a reference point and a benchmark, a point of common discussion and an issue of universal scientific interest.

Robert Pattinson has the face of a film-noir dupe. It's a face that is searching and open and kind. It's a face that a certain type of woman might want to fool because, in its intensely old-fashioned kindness, the face says, I love you. Fool me.

In movies, there are some things the French do that Americans are increasingly incapable of doing. One is honoring the complexities of youth. It's a quiet, difficult undertaking, requiring subtlety in a filmmaker and perception and patience from us.

Most Pixar films are better than most live action films.

Poor decisions and bad luck are contingencies of most horror films.

Sidney Lumet's chief preoccupation wasn't art. It was right and wrong in the American city, nearly always in New York.

Sidney Poitier became a star in part by helping black and white Americans negotiate their new relationship in the post-Civil Rights era.

Sometimes a movie knows you're watching it. It knows how to hold and keep you, how, when it's over, to make you want it all over again.

Anyone who watches a lot of television, or listens to pop music, is familiar with a certain vision of America. If not exactly colorblind, this America is one in which different races easily interact, in which a white person might have an Asian boss, Hispanic stepson, or African-American frenemy.

Computers are scary. They're nightmares to fix, lose our stuff, and, on occasion, they crash, producing the blue screen of death. Steve Jobs knew this. He knew that computers were bulky and hernia-inducing and Darth Vader black. He understood the value of declarative design.

In the Mac vs. PC ads, Apple bills itself as the antidote to Microsoft. To love Apple wasn't to sell out. It was to buy in. Most people use PCs, but Apple has the mindshare.

Movies are visual, aural, they involve people, and life, and ideas and art, they are so elastic. They can hold anything, withstand everything, and make you feel anything. Other arts can do that, but movies are the only ones that can incorporate other media into cinema.

No, I don't know why Bobby and Peter Farrelly bothered with a 'Three Stooges' movie, either. But if they're anything like some men I know, their love for Moe, Larry, and Curly (and an assortment of fourth bananas) is deep, abiding, and unembarrassable. In other words: How could the Farrellys not?

'Polisse' is the sort of cop thriller where people do things like angrily bang on a desktop or sweep everything off it. If it happens once, it must happen six times. But every time it did, I wanted to stand up and cheer, which I've never wanted to do for any such thriller.

Standing beneath the white light of an Apple store is like standing on a Stanley Kubrick movie set. His '2001: A Space Odyssey' predicted Jobs and a future where technology was our friend. Kubrick, of course, didn't like what he saw. And occasionally, I have my doubts.

The bravery of Stanley Kramer's 'Guess Who's Coming to Dinner' amounted to two Hollywood legends - Katharine Hepburn and Spencer Tracy - telling the world that a black son-in-law is something they can live with, and so should you, especially if he looks like Sidney Poitier and has degrees.

'The Dictator' lands somewhere between wan Mel Brooks and good Adam Sandler, whose 'You Don't Mess With the Zohan,' about an Israeli Special Forces soldier at a hair salon, manages to strike better contrasts with vaguely similar culture differences - it's a nuttier movie, too.

The enormous success of 2009's 'The Blind Side,' in which Sandra Bullock makes a black teenager one of the family, demonstrates that America isn't post-racial. It is thoroughly mired in race - the myths that surround it, the guilt it inspires, the discomfort it causes, the struggle to transcend it.

'The Tree of Life' is a collection of conversations that lost souls and true believers have with themselves while keeping their heads to the sky. But the movie is church via the planetarium.

There comes a point in your moviegoing life where you look at the screen and then you look at the world and you ask, 'What is going on?' You want the movies to show you the chaos and mess and risk and failure that are normal for a lot of us. Generally, the movies hide all of that.