Karl Philipp Moritz Quotes

I just like a dirty, crumbling city. The Gotham I imagine is enticing and horrifying at the same time.

I found that through my life, living in the city of Toronto, I look above the Pizza Pizza sign, and I look above the other signs and window dressing, and I see evidence of a city that no longer exists in the keystones and the decorations that line the tops of buildings. That presence of the old city has always moved me.

Below us the Thames grew lighter, and all around below were the shadows - the dark shadows of buildings and bridges that formed the base of this dreadful masterpiece.

San Francisco is a breathtakingly beautiful city, with lots of great contrasts between dark and light, often overlapping each other. It's a great setting for a horror story.

There's a kind of beauty to a skyscraper.

Gotham City. Clean shafts of concrete and snowy rooftops. The work of men who died generations ago. From here, it looks like an achievement. From here, you can't see the enemy.

London is like a cold dark dream sometimes.

There's something overwhelming about being in raw nature. It's got an aura about it is that is really kind of majestic and spiritual.

Only as far as the masters of the world have called in nature to their aid, can they reach the height of magnificence. This is the meaning of their hanging-gardens, villas, garden-houses, islands, parks, and preserves.

Majesty is a thing of beauty to behold, whatever the particular enterprise.

One thing about Los Angeles is it feels like it's not new. It feels like it's already been built, and it's deteriorating, except for the places they're trying to make nicer. But in general, you drive all through the city, and the city feels like it was new a long time ago.

New York in spring and autumn is absolutely beautiful, but the winter is absolutely depressing.

To walk into the hall of mirrors of Versailles as Louis XIV and deliver a monologue on your own in an empty hall of mirrors is like no other experience.

The truth is that I am in love with Dublin. I think it is the most beautiful town that I have ever seen, mountains at the back and the sea in front, and long roads winding through decaying suburbs and beautiful woods.

Certain parts are bad in every city, but Chicago is beautiful.

If you want to know what London looked like in 1947, with all the bomb-sites, 'Hue and Cry' will tell you. And when I shot 'The Lavender Hill Mob' four years later, it didn't look that different.

Paris has long been a palimpsest of different cities, each new iteration grafted on top of the still visible last, spanning the extremes of human excellence and beauty and, just as crucially, filth and squalor.

When I show up in New York, and I look at the skyline, it's like showing up in a mountain range. My gaze goes toward the most impressive-looking climb. It's always gone to the top of the World Trade Center.

Not only did America invent the skyscraper, it invented the skyline.

For whatever reason I love big-city skylines. I've always been fascinated by them.

'Flower' is about the sublime.

Chicago's a great city for filming. The city is so rich architecturally. I think that's part of what made 'Candyman' special.

I feel that buildings often have a workaday aspect that you see during the daylight hours, and a more resplendent side that emerges after dark.

The City of New York is like an enormous citadel, a modern Carcassonne. Walking between the magnificent skyscrapers one feels the presence on the fringe of a howling, raging mob, a mob with empty bellies, a mob unshaven and in rags.

The city itself swung slowly toward us silent as a dream. No sign of life but puffs of steam from skyscraper chimneys, the motion of the traffic. The mighty towers stood like tombstones in a graveyard, leaning against the sky and waiting for -- for what? Someday we'll know.