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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I wanted to play this part: the goofy rock and roller who can't hang up his guitar when it's clear to everyone else that he should.
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Many a man that couldn't direct ye to th' drug store on th' corner when he was thirty will get a respectful hearin' when age has further impaired his mind.
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I play enough guitar to get by. I don't like to play guitar live.
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We know over very national survival is at stake; and we believe that we should support our troops, yes, and work for an outcome that results in victory.
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What can a meaning outside my condition mean to me? I can understand only in human terms. What I touch, what resists me - that I understand. And these two certainties - my appetite for the absolute and for unity and the impossibility of reducing this world to a rational and reasonable principle - I also know that I cannot reconcile them. What other truth can I admit without lying, without bringing in a hope I lack and which means nothing within the limits of my conditions?
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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.
