Mario Van Peebles Quotes

“My dad always said there's four phases in an actor/director's life. There's 'Mario Who?' There's 'Get me Mario!' 'Get me a young Mario,' and 'Mario Who?'”

“My dad always said there's four phases in an actor/director's life. There's 'Mario Who?' There's 'Get me Mario!' 'Get me a young Mario,' and 'Mario Who?'”

“You cannot teach creativity—how to become a good writer. But you can help a young writer discover within himself what kind of writer he would like to be.” Mario Vargas Llosa”

“After that, we had a short conversation about how your body can sometimes seem totally separate. She said her body can feel like a distant bureaucracy controlled by telegrams from her brain, and I said my body is sometimes like that of Mario Mario, being controlled with a Nintendo joypad. Mario's surname is Mario.”

“Super Mario Bros. hooks newcomers because there are no barriers to playing the game. You can know absolutely nothing about the Nintendo console and still enjoy yourself from the very first minute. There's no need to read motivation-sapping manuals or grind through educational tutorials before you begin. Instead, your avatar, Mario appears on the left-hand side of an almost empty screen. Because the screen is empty, you can push the Nintendo controller's buttons randomly and harmlessly, learning which ones make Mario jump and which ones make him move left and right. You can't move any further left, so you quickly learn to move right. And you aren't reading a guide that tells you which keys are which--instead, you're learning by doing, and enjoying the sense of mastery comes from acquiring knowledge through experience. The first few seconds of gameplay are brilliantly designed to simultaneously do two very difficult things: teach, and preserve the illusion that nothing is being taught at all.”

“Mario the Magnificent is Orange!" His eyes sparkle with eagerness as he winks at me.”

“The first glimpse I had of what Mario Batali's friends had described to me as the 'myth of Mario' was on a cold Saturday night in January 2002, when I invited him to a birthday dinner.”

“Lidia Bastianich, sorry, but kind of boring. I mean, I love Lidia, but you can fall asleep watching her. And Mario Batali? I love Mario to death... but he's not romantic or sensual. Those are the things I bring to the table.”

“That thing ruined my favorite T-shirt," complains Mario."Whatever." It’s Marianne’s voice. "You were just looking for a reason to get your shirt off." I try to look around for her, but my neck refuses.”

“A man's primary duty in life is to earn his own living, but to what purpose if he did not have a wife and children?”

“If Laura was so prolific with poems, and in truth she was, then what was the problem with Megan’s request? Couldn’t Laura, with a little doing, keep stringing together line after line of words and construct, in time, a novel? It seemed logical, but there was the matter of finding an idea and sustaining it. Only fire could do that. The fire of rebellion.Mario Vargas Llosa had not used the term “fire” exactly, but rather had discussed the presence of “seditious roots” that could “dynamite the world” the writer inhabited. He claimed that writing stories was an exercise in freedom and quarreling—out-and-out rebellion, whether or not the writer was conscious of it. And this rebellion, Vargas Llosa reminded his readers, was why the Spanish Inquisition had strictly censored works of fiction, prohibiting them for three hundred years in the American colonies.”