quote by Gyorgy Ligeti

But if you go from Moscow to Budapest you think you are in Paris.

— Gyorgy Ligeti

Informative Budapest quotations

We started filming in 1993 which was only four years after the fall of communism. The difference in Budapest over the last five years has been remarkable.

I studied at the Budapest Academy of Theatrical Arts for four years and emerged with a degree.

Budapest is a prime site for dreams: the East’s exuberant vision of the West, the West’s uneasy hallucination of the East. It is a dreamed-up city; a city almost completely faked; a city invented out of other cities, out of Paris by way of Vienna — the imitation, as Claudio Magris has it, of an imitation.

Where would you like to go, what would you really like to do with your life? See Istanbul, Port Said, Nairobi, Budapest. Write a book. Smoke too many cigarettes. Fall off a cliff but get caught in a tree halfway down. Get shot at a few times in a dark alley on a Morrocan midnight. Love a beautiful woman.

People fear they won’t get what they want.

There is no such place as Budapest. Perhaps you are thinking of Bucharest, and there is no such place as Bucharest, either.

(Jace) "Is there anything special you want to see? Paris? Budapest? The Leaning Tower of Pisa?" Only if it falls on Sebastian's head, she thought.

The younger generation forms a country of its own.

It has no geographical boundaries. I've talked with young Hungarians in Budapest, with young Italians in Rome, with young Frenchmen in Paris, and with young people all over. ... These young people are going to do things. They are going to change things.

Budapest in late May is a city of lilacs.

The sweet, languid, rather sleepy smell of lilacs wafts everywhere. And it is a city of lovers, many of them quite middle-aged. Walking with their arms around each other, embracing and kissing on park benches. A sensuousness very much bound up (it seems to me) with the heady ubiquitous smell of lilacs.

Celtic Tiger portrays the oppression of a people and the tiger symbolises the awakening of their Spirit and their struggle for freedom.

The messages on our banners in 1979 - freedom, opportunity, family, enterprise, ownership - are now inscribed on the banners in Leipzig, Warsaw, Budapest and even Moscow.

This speaker reminds me of my childhood in Budapest.

There were gypsy magicians who came to town to entertain us children. But as I recollect, there was one important difference: the gypsy only seemed to violate the laws of nature, he never really violated them!

Two years ago, I shot 'Pillars of the Earth' in Budapest - it was a big part, but I had a lot of time to sit around and visit cafes.

When I was younger I was completely without money - when I was studying in Budapest, when I was a refugee.

If you come from Paris to Budapest you think you are in Moscow.

And, not only in Budapest. I worked very closely with a very powerful government organization, which shall remain unidentified, to develop the mass marketed version of the Cube.

For instance, I always have one hanging in Budapest in the mayors office.

If you watch Michael Jackson [1992] concerts from Budapest and compare it to a Madonna concert of today, you'll see such uplifting beauty and a message that you won't see in any other artist of our time.

Things have gotten openly more extreme in the last few years.

I was lecturing in Hungary, whose prime minister, Victor Orban, is an example of this trend. All over Budapest, statues have been replaced, museum exhibits have been redone, to turn ethnic Hungarians, not Jews, into the prime victims of the Germans during World War II. Five years ago, who would have thought this possible?

Solely in the world of languages is the amateur of value.

Well-intentioned sentences full of mistakes can still build bridges between people. Asking in broken Italian which train we are supposed to board at the Venice railway station is far from useless. Indeed, it is better to do that than to remain uncertain and silent and end up back in Budapest rather than in Milan.

When I sang my American folk melodies in Budapest, Prague, Tiflis, Moscow, Oslo, or the Hebrides or on the Spanish front, the people understood and wept or rejoiced with the spirit of the songs. I found that where forces have been the same, whether people weave, build, pick cotton, or dig in the mine, they understand each other in the common language of work, suffering, and protest.

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