Alex Ebert Quotes
In a place like the Greek Theater in L.A., to try and create a close connection with the audience seems almost antithetical to the architecture of the building.
Quotes to Explore
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The connection I make with being young and growing up is, like, the feeling of not being crushed by the world. Having an idea, thinking you can do it.
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For me, opposition is just another opposition.
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I like to cook, but mostly Greek. When I am confused or tired, I think about what I can cook. It takes you away from everything, as you are thinking only of your dish.
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The key is that I'm trying to keep growing and trying to keep learning and deepen my connection in every way, in my life, in my work. That's what I do when I look at a role.
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I read whenever possible, and I buy books all the time, sometimes online, but mostly from bookshops. I love literature. If you want to understand art, it's important to understand what is also happening in literature, in music, in science, in architecture.
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I'm very close with my higher power. I have a very strong connection with it.
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Arab civilizations had been of an abstract nature, moral and intellectual rather than applied; and their lack of public spirit made their excellent private qualities futile. They were fortunate in their epoch: Europe had fallen barbarous; and the memory of Greek and Latin learning was fading from men's minds.
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I could be happy doing something like architecture. It would involve another couple of years of graduate school, but that's what I studied in college. That's what I always wanted to do.
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If architecture is frozen music then music must be liquid architecture.
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The president led us into the Iraq war on the basis of unproven assertions without evidence; he embraced a radical doctrine of pre-emptive war unprecedented in our history; and he failed to build a true international coalition.
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I have a lot of connection to Pataudi. I have spent a lot of time there and I love the place very much, but at no point, do I consider myself a Nawab.
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Tel Aviv is new, built on the sand dunes north of Jaffa in the 1890s, about the same time Miami was founded. The cities bear a resemblance in size, site, climate, and architecture, which ranges from the bland to the fancifully bland.
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I can play a man who's despicable. But I'll still look inside him to find a point of connection. If I can find that kernel, audiences will relate to me.
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You shouldn't talk about yourself all the time - most of us aren't for sale. Our books are. Talk about them. It's not a question of whether or not you're fascinating on a personal level - it's that your trivia and trials might not have any connection to the tone, tenor and sense of your books.
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I think the artistic side of architecture was natural to me. My mother was an artist and a poet.
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I could care less about the radio or the TV or album sales. I want that connection with people because when I'm able to walk down the street, I want them to feel like I've done something for them and helped their life because I've never felt that way about a musician.
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I'm a big believer in our connection to nature.
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Washington, D.C., has everything that Rome, Paris and London have in the way of great architecture - great power bases. Washington has obelisks and pyramids and underground tunnels and great art and a whole shadow world that we really don't see.
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Civilization is so hard on the body that some have called it a disease, despite the arts that keep puny bodies alive to a greater average age, and our greater protection from contagious and germ diseases.
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I ended up writing songs and growing up in public with my songwriting. And it's a good thing for me back then: in the early '70s, there was a thing called artist development, where an artist could find his feet, find himself, find his voice. I think I made five or six albums before I sold five or six albums.
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The armored cars of dreams contrived to let us doso many a dangerous thing.
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Your crew becomes your family and you trust the director and the other actors on the set, and it's a very safe place.
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I was almost expecting the Olympics to be the biggest thing ever, but it wasn't. It was just another race.
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In a place like the Greek Theater in L.A., to try and create a close connection with the audience seems almost antithetical to the architecture of the building.
