Adam Rich Quotes
Quotes to Explore
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The team needs me out there on the field. And sometimes you allow that to jeopardize yourself, but that's just the nature of the world.
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My first workshop was in Rome, and that was the start of House of Waris. In a little magical atelier, a goldsmith, his apprentice, his stone setter - and that was where it began.
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In film, you are a totally different person than in the video.
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If you don't have liberty and self-determination, you've got nothing, that's what this is what this country is built on. And this is the ultimate self-determination, when you determine how and when you're going to die when you're suffering.
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We demand that people should be true to the pictures we have of them, no matter how repulsive those pictures may be: we prefer the true portrait in all its homogeneity, to one with a detail added which refuses to fit in.
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Growing up, I had a very happy childhood, with two parents who are still very much together.
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I like going to rifle and pistol clubs and joining them in target shooting. I also share the same respect for individual initiative and love of family.
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I feel a big obligation to the audience, almost in a moral sense, to say something useful. If I'm going to spend a year of my life on these things, I want something that I feel that strongly about.
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I like seeing advanced acrobatics, but I also like to see more than tumbling. It's important to combine the artistry of gymnastics with the tough skills. It's called artistic gymnastics. We should stand by the name.
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I own a home in Kyoto, Japan actually on the temple on grounds in Nanzenji that is going to become a Japanese art museum.
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I never, ever had it in my mind that I wanted to be in the record industry, because I still contend that the record industry is an insidious affair. It's this terrible collision between art and commerce, and it will always be that way.
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The thing that I love about 'Scandal' is every character, it's not clear if they're good or bad. Everyone is both good and bad.
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I was walking around bored one day, and I started filming stuff with my cellphone. There are all these shows where people are trying to do these outrageous stunts, and I thought it would be funny to do all these stunts that aren't outrageous but then act like they are.
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I'm interested in complexity, in the mathematical sense, as well as the idiomatic sense. The idea of emergence - that it's possible for complex patterns to arise out of many simple interactions - is fascinating.
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I feel like we can't pick who we fall in love with because if we could, we would all make better choices. Your heart just falls where it falls.
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In high school, I played in a Rush cover band.
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I think there are only two kinds of heroes: the flamboyant ones and the angry-yet-silent types. Every character on TV falls into either category.
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My 9-year-old daughter can recite every line from 'Easy Rider,' and that is not an easy song to do. She raps all of Nicki Minaj and everything; she's dope. She has my musical ear for sure. She sings, and she's beautiful. It's very powerful.
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There's a thin line between interesting music and self-indulgence. We crossed it on the Passengers record.
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Another thing that was unique about working on this stuff was that I was engineering it. I used many of the things I had learned while I was away from the band. It sort of vindicated my decision to leave in '87.
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We really have a lot of fun at these sessions, we all get along and kid around with each other throughout the job.
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We don't get groupies.We get teenagers who want to read us their poetry.
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I think that every band tries to mature their sound through their existence, you know?
