David Gilmour Quotes
You know, once you've had that guitar up so loud on the stage, where you can lean back and volume will stop you from falling backward, that's a hard drug to kick.
Quotes to Explore
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We are asleep with compasses in our hands.
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Sometimes I don't know whether a movie has been shot on film or in digital when I watch it in the theatres.
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The thing we often forget to talk about, or perhaps we take for granted, is our country's dazzling beauty. Our natural environment is so much a part of Australia's art, writing, music and culture, both indigenous and non indigenous.
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If somebody says they really like my playing I say thanks a lot.
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May nothing entice me till I happily make my way to Jesus Christ! Fire, cross, struggles with wild beasts, wrenching of bones, mangling of limbs – let them come to me, provided only I make my way to Jesus Christ.
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Personal life? I'd like to keep it private.
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I remember someone once said there is a practical aspect to my designs, and I remember thinking, 'That doesn't sound so creative,' but that is actually the truth. There is a practicality to it. I don't design just to design. There is a reason and, hopefully, an interesting reason behind it - that is where my creativity comes in.
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Often times I have been asked about the attributes for success, and I have said that you need two attributes for succeeding as an entrepreneur: one, courage, second, luck.
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I went from being an ailing child to a public enemy.
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Basically, I'm afraid of everything in life, except filmmaking.
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I don't want to live in a nanny state where people are telling me where I can go and what I can do.
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Becoming a tutor was among the many attractive post-collegiate side careers I failed to pursue while devoting the bulk of my days to writing fiction.
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I had the X rating on my films. Now they do as much on The Simpsons as I got an X rating for Fritz the Cat.
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It's difficult to act in a language that's not your own. It takes a long time to put your head around it and feel confident with it.
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When a project has an ample budget, I am interested now in using bigger units of materials.
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Around 2005, the Canadian army tapped me to do a dramatization for a series of foresight workshops they'd done. They had stacks of papers and needed it boiled down to something simple enough for a 4-star general to understand. We decided to do it as a story. That's how I created 'Crisis in Zefra.'
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I came back out here from England and I was there for a while and it was beautiful and it is just great to see London going from Spring to Summer and Autumn.
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I want the world to get a feel of me, showing them the way I am and the way I get down.
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Juilliard definitely emphasizes the theater. They don't train - at all really - for film acting. It's mostly process-oriented, pretty much for the stage.
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Like attracts like and we attract just what we are in mind.
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So I've never found there was any particular separation between the two cultures at all, musically speaking.
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I am now satisfied that the future music of this country must be founded upon what are called negro melodies. This must be the real foundation of any serious and original school of composition to be developed in the United States.
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You know, once you've had that guitar up so loud on the stage, where you can lean back and volume will stop you from falling backward, that's a hard drug to kick.
