Alfred Eisenstaedt Quotes

Tom Bosley may have passed, but through that part and that character, a part of him will live on forever.

Age makes all things greater after their death; a name comes to the tongue easier from the grave.

I would say people remember me from 'Life Goes On' more than anything.

One lives in the hope of becoming a memory.

Our memory and the movies keep movie stars alive for us, and Tony Curtis is still a star.

Christopher Reeve will always be Superman in my mind.

There stands the shadow of a glorious name.

The light dims a little bit as you get older and new generations come along. But it's around the holidays when I am remembered the most. It is very special, and I get a kick out of it now as much as I did when I first started.

People say that I must get bothered when someone stops me for an autograph or a photo. I'll get bothered when no one asks me. Being asked means people haven't forgotten the time I played.

When I go back to New York all these years later, I'll walk down Seventh Avenue, and I'll hear, 'Yo, Oz!' In New York, I get recognized for that all the time.

Do you not know that a man is not dead while his name is still spoken?

So long as they speak your name, you shall never die.

The world that birthed that story is long gone, all its people are dead, but it continues to touch the present and future because someone cared enough about that world to keep it. To put it in words. To remember it.

Yesterday's rose endures in its name, we hold empty names.

Its name-what passes not away.

When somebody brings up a movie (of mine) that I haven't heard about in a long time, I feel like a 70-year-old pitcher at a bar somewhere, and somebody walks in and says, 'Oh, my God, I was in St. Louis and I saw you. You pitched a shutout.' It's real. I really did do that, because someone today remembers it.

What can you do. You get a name, you're called 'Thomas Bernhard', and it stays that way for the rest of your life. And if at some point you go for a walk in the woods, and someone takes a photo of you, then for the next eighty years you're always walking in the woods. There's nothing you can do about it.

We can die by it, if not live by love, And if unfit for tombs and hearse Our legend be, it will be fit for verse; And if no peace of chronicle we prove, We'll build in sonnet pretty rooms; As well a well wrought urne becomes The greatest ashes, as half-acre tombs.

It is photography itself that creates the illusion of innocence. Its ironies of frozen narrative lend to its subjects an apparent unawareness that they will change or die. It is the future they are innocent of. Fifty years on we look at them with the godly knowledge of how they turne dout after all - who they married, the date of their death - with no thought for who will one day be holding photographs of us.

...and our footsteps rang and echoed till it sounded like the room was full of dancers, the house calling up all the people who had danced here across centuries of spring evenings, gallant girls seeing gallant boys off to war, old men and women straight-backed while outside their world disintegrated and the new one battered at their doors, all of them bruised and all of them laughing, welcoming us into their long lineage.

The ancient Egyptians used to say: if you say a man's name, he is alive. I take this opportunity to say, Jim Morrison.

Time has a doomsday book, upon whose pages he is continually recording illustrious names. But as often as a new name is written there, an old one disappears. Only a few stand in illuminated characters never to be effaced.

The last great Englishman is low.

Egypt loved the lotus becuase it never dies. It is the same for people who are loved. Thus can something as insignificant as a name-two syllables, one high, one sweet- summon up the innumerable smiles, tears, sighs and dreams of a human life.

The past is dead except for the life you give it