Clive Sinclair Quotes
Quotes to Explore
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Hip-hop is a vehicle.
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I have lots of friends and, like me, they're not married. So my kids have lots of godparents - men and women, gay and straight. My loft is always filled with people helping me out with them and loving them.
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In England especially, I've found that if you bring up King Edward VIII and Wallis Simpson at a dinner party or a social gathering, it's like throwing a Molotov cocktail into the room.
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The mid-day meal is a well-intentioned scheme and has to be implemented effectively.
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I'm not super into sports.
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If I splurge on anything, it's cologne. I love smelling good.
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Essentially, you have to be aware of a crisis happening: 'Can the company go on if I get hit by a bus?' That's, I think, how you build a great company and something that can scale.
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Our country has often stood like a solid rock in the face of common danger, and there is a deep underlying unity which runs like a golden thread through all our seeming diversity.
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That's the reality of my life - I do normal things and then get to go to film festivals and wear borrowed clothes and turn up at premieres and talk about things I am passionate about. But then you click back to normality and your family and friends.
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I don't idealise women. I enjoy them. I have been married to two of the most independent women it is possible to think of.
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Our lives are not what we deserve; they are, let us agree, in many ways deficient.
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The Bay of Pigs became a metaphor for feckless folly and failure.
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To be a good loser is to learn how to win.
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I've done some good work and some not-good work.
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I don't feel like I have to apologize for being a technophile, ever. Technology is awesome and lets me do so much. Nor do I feel like I have to apologize for loving my work.
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In the 21st century, somebody or something has changed the rules about how our world works.
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Without consciousness there would, practically speaking, be no world, for the world exists as such only in so far as it is consciously reflected and considered by a psyche. Consciousness is a precondition of being.
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I don't use a computer in writing at all. I'm sort of old-fashioned about it.
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Writing 'February' made me realize that breaking form is a way of letting the song be human.
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On 'Angel' I got to work a lot with Mike Massa, who was David Boreanaz' stunt double, and Mike would let me do most of my stuff by myself. I did almost all my fight scenes by myself.
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I envision presenting parents with a marketplace of school choices - public, private, parochial, charter, virtual, blended, and home education. They then can choose the model that best equips their children for success.
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When 'The Normal Heart' first appeared, the sense of urgency was so important.
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You have to turn a blind eye to politics in nearly all Westerns.
