"However, these lions will perform for two rewards; one is love and the second is meaty treats. Without those ingredients we wouldn’t have had workable lions on the film. So, amazingly, many of the complicated scenes - very big wide shots of this little lion walking a huge distance toward camera - are accomplished mainly because the lion loves and respects us, and not only because of the treat that he gets at the end. Scenes that were less complicated, were achieved where the lion was aware that if he does what he’s asked, he’s going to get a little cube of meat, and if you’re a lion,” jested Richardson, “that’s very exciting!”."
"I look at the Augusteum, and I think that perhaps my life has not actually been so chaotic, after all. It is merely this world that is chaotic, bringing changes to us all that nobody could have anticipated. The Augusteum warns me not to get attached to any obsolete ideas about who I am, what I represent, whom I belong to, or what function I may once have intended to serve. Yesterday I might have been a glorious monument to somebody, true enough - but tomorrow I could be a fireworks depository. Even in the Eternal City, says the silent Augusteum, one must always be prepared for riotous and endless waves of transformation."
From Eat Pray Love,Elisabeth Gilbert, by chapter 25.
"Right from the outset – inspired opening track “Rasta Bourgeois” – the wide scope of this richly arranged record can be felt. “The bourgeois Rasta is a vision. What’s the point in idealising poverty and highlighting its exotic side? Articles on Rastafarian culture always show photos of kids walking around bare-foot in ghettos. Our poverty is neither exotic nor touristy. Rastas are entitled to a decent, bourgeois life if they so wish. They have the right to send their children to school. Poverty is not compulsory, nor is it a profession nor a trend”."