Cultural Investment Quotes

China has set its cultural industries as pillar industries.

Too many developers still treat cultural strategies as a fig leaf to get planning permission, rather than make a thoughtful, genuine commitment to the cultural life of their areas.

Everyone town of 100,000 in the United States should have a Classical Theater supported by the town, or the state of the county, or the Federal Government, as they have in every civilized country.

Unfortunately, America doesn't have a minister of culture, and I don't understand why. It's really bad for young people.

When I hear the word 'culture', I reach for my checkbook.

In 1968 the Arts Council managed to get a grant from the treasury to buy up a lot of derelict touring theatres and put them back in the hands of the local authorities.

As long as Federal dollars are used to finance art projects, Congress will have the responsibility to its constituents to determine what type of art taxpayer dollars will support.

One measure of the degree of civilization attained by a nation might fairly be the extent to which the nation's creative artists are supported, encouraged and esteemed by the nation as a whole.

If a nation allows its literary culture to die, it's a sign that it doesn't fundamentally care.

What do we, as a nation, care about books? How much do you think we spend altogether on our libraries, public or private, as compared with what we spend on our horses?

All the arts are predominantly national, and therefore the Australian Film Commission should be funding us. The battle gets more and more vicious each year.

The present government is very insistent that business sponsorship should replace government sponsorship of the arts. Business sponsorship won't happen unless you make tax concessions, which they won't.

Advertising has always been a huge unrecognised source of outdoor relief for the arts.

Taxpayers don't want their money spent more than a very, very slender amount on actual buying art or paying for concerts.

I think the Norweigan model of municipalities owning cinemas and being programmed by people who know about films is a good one.

A novelty in Polish filmmaking was that it was possible to find funds for a big production. However, at the same time, the state budget committed less and less money to filmmaking.

People in Scotland appreciate homegrown talent, but it's getting harder and harder to get films made in Britain.

One thing I wanted to say in my Tony speech, which I didn't because I forgot what I was doing because I couldn't believe the view from where I was standing, was that I really, truly believe in an investment in young people in the arts. It is an investment in a more beautiful world.

Our films have the ability to tell global audiences who we are, and this is something the government should feel compelled to protect. My film, 'Bend it Like Beckham,' for example, would not have been made without the backing and support of the U.K. Film Council.

I have always thought we should think less about the British film industry as an entity, and more about getting British talent working.

When younger writers and poets, musicians and painters are weakened by a stemming of funds, they come to me saddened, not as full of dreams and excitement and ideas. I am then weakened and diminished, and made less rich.

I have even begun to think that I am caring for Argentina and Chile perhaps more than Argentines and Chileans. I feel like I'm sort of a de facto citizen, because I am looking after their national patrimony - which is the land - very carefully.

I wish that the arts were better supported, and you can't say that enough times, but I also believe that whatever happens, artists will keep going.

A country like Belgium, or socialist countries in central Europe spend more money on art education than the United States, which is a really puzzling thought.

I came to Paris with four écus in my pocket, and I’d have fought with anybody who told me I was in no condition to buy the Louvre.