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Diane Frolov and Andrew Schneider, Northern Exposure, All is Vanity, 1991
The fact that we don't know this man, isn't important really. Cause his experience is our experience, and his fate is our fate. Vani tass, vani tatum, et omni i vani tass, says the preacher. All is vanity I think that's a pretty good epitaph for all of us. When we're stripped of all our worldly possessions and all our fame, family, friends, we all face death alone. But it's that solitude in death that's our common bond in life. I know it's ironic, but that's just the way things are. Vani tass, vani tatum, et omni i vani tass. Only when we understand all is vanity, only then, it isn't.
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Diane Frolov and Andrew Schneider, Northern Exposure, Cicely, 1992
If you were in a burning house and there was a cat and a Rembrandt, what would you save? The cat...you would save the cat, because the cat is alive. The art is dead. It's just paint on a canvas, ink on a page. To live for art is to deny life. It's just to destroy life.
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Diane Frolov and Andrew Schneider, Northern Exposure, Cicely, 1992
Men are confused. They're conflicted. They want a woman who's their intellectual equal, but they're afraid of women like that. They want a woman they can dominate, but then they hate her for being weak. It's an ambivalence that goes back to a man's relationship with his mother. Source of his life, center of his universe, object of both his fear and his love.
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