Pierce Brown Quotes
Quotes to Explore
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No matter how much money I make, no matter how many hit songs. I still perform like a street performer.
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I consider music to be storytelling, melody and rhythm. A lot of hip-hop has broken music down. There are no instruments and no songwriting. So you're left with just storytelling and rhythm. And the storytelling can be so braggadocious, you're just left with rhythm.
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I've got a theory that if you give 100% all of the time, somehow things will work out in the end.
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I think I was given a gift to play golf and to be mentally strong.
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My songs are a mix of my own weird raised-by-wolves perspective and civilization.
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You can take any one of our stories that we use right now, put western clothes on us, stick us out in the west and they'll work just as well - any single one of them - because they're stories about people, they're stories about things.
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My grandparents met each other in amateur theatre. My uncle is an actor.
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When I arrived to study at Oxford in October 1963, the bohemian style was black plastic or leather jackets for women and black leather or navy donkey jackets for men. I stuck to cavalry twills and a duffle coat, at least for a few months.
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I feel like a mirror reflecting back everyone's perception of me.
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It's easy to forget the ever-plodding eBay with all the noise made by the more lithe and lively Web 2.0 companies.
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The truth is that the history of Mexico is a history in the image of its geography: abrupt and tortuous. Each historical period is like a plateau surrounded by tall mountains and separated from the other plateaus by precipices and divides.
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When you have young children, it is hard to see live performances. Unless I am in it. I do manage to see my husband Rupert Goold's work, of course.
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If people don't get paid for their inventions, that's not a good thing. In the case of many patents, there are people who aren't in a position to take them to the next level. If you don't enforce your rights, no one is going to enforce them for you.
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I looked at but was not allowed to touch Ai Weiwei's 'Sunflower Seeds' at the Tate. The film of making them was really moving.
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I had this revelation, you are a lot better at the between-song stuff than you are at the song stuff. That was devastating. And I usually find devastating things to be pretty valuable.
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When they see those fourteen lights, they're looking at a miracle. And deep down, they feel that whatever's going to happen, there will be someone there to help them. And that fills them with hope.
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I'm intrigued by films that have a singular vision behind them. A lot of studio movies have ten writers by the time they're done. You have a movie testing 200 times, making adjustments according to various people's opinions. It's difficult to have an undistilled vision.
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In Britain, you know there are people waiting to tear your stuff apart, so it's important for me to know that my music has subtleties and depth to it.
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I break ground. I trailblaze.
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I would like to do a romantic comedy, but not a romantic comedy that is cheesy. I want to do an old romantic comedy like 'Roman Holiday' or 'My Fair Lady.'
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I grew up the son of a director and grew up on sets myself, so I was the kid getting dragged around from this set to that set and I loved it. There's something about it which is really interesting.
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While certainly no pressing threat to Gordon Lightfoot, I knew it was simply a matter of time until I was going to be a star.
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By prayer we couple the powers of Heaven to ou helplessness, the powers which can capture strongholds and make the impossible, possible.
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If you look at 'Golden Son,' it was just a focused, isolated battle for Mars.
