Brian Eno Quotes
I think most artists would be happy to have bigger audiences rather than smaller ones. It doesn't mean that they are going to change their work in order necessarily to get it, but they're happy if they do get it.
Quotes to Explore
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I enter my studio at 9 a.m. I have lunch here, I return right away to my work and I go out to dinner at 8 p.m. My daily tasks vary very much.
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It's better to be happy than to be well-dressed.
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At the beginning of all experimental work stands the choice of the appropriate technique of investigation.
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Culture is mix. Culture means a mix of things from other sources. And my town, Istanbul, was this kind of mix. Istanbul, in fact, and my work, is a testimony to the fact that East and West combine cultural gracefully, or sometimes in an anarchic way, came together, and that is what we should search for.
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To praise it would amount to praising myself. For the entire content of the work... coincides almost exactly with my own meditations which have occupied my mind for the past thirty or thirty-five years.
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People have got to get together and work together. I'm tired of the kind of oppression that white people have inflicted on us and are still trying to inflict.
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Would I be happy just practicing law? No. Would I be happy just doing TV and speeches? No. I want to do all of these things and be as active as I can... but my main goal is to have some degree of influence on the public discussion.
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I've got pretty good knowledge about pass rushing. But I know I have a lot to work on.
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I never was happy with the job I did in 'Ed Wood.'
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I think I don't sing as hard as I used to sing. I used to kind of hit the accelerator a lot back in my youth, but now it's just being able to control it, and not work it so hard and use more of an emotional or sub textual kind of approach to singing.
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But I think it is always difficult to have high expectations of yourself or anyone else.
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Museums are for dead artists. I'd never show my work in the Tate. You'd never get me in that place.
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Writers always have confidence issues - it comes with the territory. We never know where we fit in, or what the actual value of our work might be. So we hit lulls, or slogs. Throw in the idea that many creative people are somewhat manic-depressive, and it can get pretty dark at times.
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A mate of mine told me recently, 'It's the first time I've seen you work, Worthington.' I thought that was quite funny, but he was right.
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I have one car that works; it's fast and safe: an Audi 5. And I have two old cars that never work: an old Peugeot convertible, and an Alfa Romeo Giulia.
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America's growth historically has been fueled mostly by investment, education, productivity, innovation and immigration. The one thing that doesn't seem to have anything to do with America's growth rate is a brutal work schedule.
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At the end of the day, I want to create collections that, although I am inspired by very creative women, I want my customer to walk away with a silhouette that she doesn't even know what collection it comes from. That it just lasts in her wardrobe and makes her feel strong and confident and hopefully happy.
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I simply seem to drift. But I sort of allow the drift, because it has a kind of check – it forces me to work harder at what I'm interested in.
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I guess I'm happy that I'm getting the attention. Otherwise, I'd just be playing in a local bar in front of my family members, and I'm sure they'd get sick of that in no time.
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When you're first reading the script and thinking about playing the part, it's slightly daunting. It's easy to question, 'Is an audience going to like me? And is that my job?'
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I didn't have a dollar to my name in 2006.
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You look up to your parents and you want them to accept you, and you don't want them to look at you in a negative light. So you do things to make them proud and accept you.
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I think most artists would be happy to have bigger audiences rather than smaller ones. It doesn't mean that they are going to change their work in order necessarily to get it, but they're happy if they do get it.
