Robert Lepage Quotes

I write about modern people who share a deep sense of connection to the mysteries of the past. I find that I understand myself and my world better when I'm able to peer into history as a mirror.

I think we really forget how connected we are to the past.

I just love learning about the past and everything we've been through as people and as a country.

I actually think looking to the past for inspiration is pretty redundant.

In all of my films, there is a desire to testify, to interrogate the past.

I know that Europe's wonderful, yet something seems to lack;The Past is too much with her, and the people looking back.

I still miss qualities of Khmer life that are hard to quantify: the slow, sensual pace, the hovering presence of the past, the vast skies filled with terrifying and beautiful butts. And, of course, the food.

When I first heard the 'Urumi' script, I was surprised, shocked, and excited. It was a strong script with a reference to the past. It had fact mixed with fiction. To incorporate facts into a film and introduce fictional characters was interesting. I loved the script.

We can never run away from our past. The past will catch up to us because it is us. It is a part of us; it's what makes us we are. It's what delineates the borders of our societies.

There are times when I wish I would have gotten a degree, but the past is history, and tomorrow's a mystery.

Since I belong to Chandigarh, I love coming to Punjab.

Germans have an understanding of history and cannot allow themselves to forget it. It may be a curse, but in some ways, it's a blessing. It makes them cautious.

All my father's stories were about our mountain, our valley, our jagged little patch of Idaho.

The idea that somehow the way forward is to abandon the past, to me, is preposterous and both undesirable and unrealistic.

I wish it wasn't so natural for me to dwell on the past.

The passion for the past is clearly about more than market forces or government policies. History responds to a variety of needs, from greater understanding of ourselves and our world to answers about what to do.

As a child brought up in Paris, I dreamed of America, that lost world my parents had left behind - it was in my genes. Plus, American music has always been close to my own aesthetic, because of the mix of symphonic music with jazz.

I've always been drawn back to the South, whether it's Southern California or in Florida, where I grew up, and I wanted to write a song about that.

My individual way of taking on the burdens of history has changed. I don't think of them only as burdens; I think they are honorable.

I watched a lot of old movies. Clint Eastwood movies, a lot of John Wayne films, a lot of movies that celebrated the region of where I lived.

My mother left Hungary as a refugee, and she is not nostalgic for the life that she had back in Hungary, and yet Cubans certainly want the economic opportunity in the United States, but they're desperately homesick for the culture that they left behind.

All the proliferating falsifications of what I and everyone I know experienced once in what it is now so convenient to call the "fifties" or "sixties," as if life was really measured or lived in arbitrary decades, when the history books are sold like comix.

I've been trying to figure out what moment The Lone Ranger came into our lives. We've always just known about The Lone Ranger. It's common knowledge. I don't ever remember watching the television show.

I look at [Toronto] and think well, perhaps my grandchildren will someday look at this stuff with the sort of appreciation I once held for Art Deco. Although I've come to find Art Deco quite creepy too.

I have on the one hand a hatred and on the other a yearning for Vienna. I left when I was nine years old because I was Jewish. And even before 1938, the anti-Semitism in Austria was probably deeper than it was in Germany or in other European countries.