Damien Hirst Quotes
Museums are for dead artists. I'd never show my work in the Tate. You'd never get me in that place.
Quotes to Explore
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I find it very difficult to say no when I'm in Ireland. You do end up going around doing lots of events and things and not getting work done, and it's not just a question of having hours at the desk.
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I've been told I'm too good looking for certain roles, but that's okay, it just motivates me to go deeper.
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I joined the Actors Studio and began to work with Lee Strasberg, and that changed my work.
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It's good to keep in mind that prominence is always a mix of hard work, eloquence in your practice, good timing and fortuitous social relations. Everything can't be personalized.
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Love can never be fully explained.
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It seemed to me that the real philosophical breakthroughs of the 20th century were in terms of the understanding of language. What is language? Where does it come from, how does it work, what does it do?
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I've been lucky enough to work in pop culture, especially with people right before they popped.
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The work that we do during the winter is very important; we have a new bike and it's important to develop it during this time, and we start with this test.
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In the back of my mind, I can never forget this could be gone tomorrow - and at this point I think the odds are against me... the chances of succeeding in this business are slim to none; there's only a handful of people that have long careers. You have to put in the work, you can never be satisfied, never take it for granted.
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It is obvious that the monetary union among 17 very different European countries does not work. As an economist, I know that the Eurozone is not an optimum currency area, as defined in economic theory.
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Australian genre films were a lot of fun because they were legitimate genre movies. They were real genre films, and they dealt, in a way like the Italians did, with the excess of genre, and that has been an influence on me.
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I've worked in television all my life, but really I've always wanted to work in the movies.
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I was raised to want to work for a living. The idea of just sitting around or going shopping every day appalls me.
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I'd hopefully work through all my issues with men first so then I'd be okay being with a woman.
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I live in Rome and five minutes from my flat is a church where you can walk in and see this beautiful Caravaggio. Just the way this man uses dark paint: dark to create dark to create dark, the layering of the darkness in his work. I just race home: I want to create!
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Everything I record, I just try to sound like me and come up with songs that suit what I do and then just go for it. I never know what the public's going to like, anyway.
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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 like the effect drink has on me.
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I come as one package deal. An Irish lesbian who wakes up every day and goes to work. And I don't spend a lot of time thinking about being 'the first this' or 'the first that' because it would take up space in my brain.
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Most people assume that folks with amazing mental abilities were born this way and that they operate on a plane that's inaccessible to the rest of us. But nothing could be further from the truth. For more than a decade, I've studied people with uncanny abilities - card counters who can beat the house, self-taught artists, people who can remember an unbelievable amount of information. Here's the thing: These weren't innate skills - they were acquired.
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I want people to see how hard my husband and kids work on the ranch.
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I spend a lot of time doing watercolors and playing music in my apartment.
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I mean, the wonderful thing about writing a book is that you're getting a finished product at the end of the day. You're communicating directly with the reader.
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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.
