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Personally, I'm not very keen on the visualization of absolutely everything.
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I confess I've never felt like a passenger.
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Of course, with the people you really know, no one changes that much.
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We already had all the songs, and it turns out all you have to do is burn them to some CDs, so why not?
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Have you seen the roses? There's a whole lot of colours.
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Being a musician, being a person who's playing tours and making records is a part-time thing for me at age. I did it, I lived it and I breathed it every day of my life for 30-odd years and now I am slowing down a little bit. But it does not mean that I am any less intense and dedicated to the work that I am doing now. I have other priorities in life as well.
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People in Italy seem to be very capable of singing along with 'Wish You Were Here' perfectly, yet it's hard to get someone in the street who speaks english.
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Life is long. But it goes fast.
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I now believe when I'm dead and buried my tombstone will read, "I'm not entirely sure the band's over."
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I am one of the best five writers to come out of English music since the war.
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Each small candle lights a corner of the dark.
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I have no interest in going on a tour to make money without making new product, new art.
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Pompeii is an extraordinary place to be because it was preserved exactly as it was. There are many other sites. If you visit any other antiquity-type sites throughout the world, they're very damaged with what's gone on over the centuries since they were abandoned. But this one was just, like, sealed, so you're looking at rock surfaces and the carving of letters and names in the stones looks like it was done yesterday.
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You know, once you've had that guitar up so loud on the stage, where you can lean back and volume will stop you from falling backward, that's a hard drug to kick.
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I think a lot of things do influence me, but the influence mechanism is as such that these things dive into your brain and bury themselves into your subconscious and you're never quite sure where and how they're going to emerge. I don't think I really take direct influence.
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I remember Adrian [Maben, director] had lots of problems with red tape and dealing with stuff. I think we lost two or three days. Maybe those were the days we had to walk around the summit of Vesuvius, and we went around to the sulfur pits where the ground is bubbling. It's near here. It's fantastic.
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We don't need no thought control.
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Buying a Ferrari is like buying Château Pétrus if you like fine wines. It's the safe choice.
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I don't, consciously anyways, sort of listen to things with the idea of getting something from them that I can use.
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I don't really read a lot. Maybe I should.
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In my rear view mirror the sun is going down sinking behind bridges in the road and I think of all the good things that we have left undone and I suffer premonitions confirm suspicions of the holocaust to come.
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I can't remember really what it's like to do it within Pink Floyd. In my mind, that's a thing of the past.
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For me, gradually over the years, you refined your tastes in the way you do things and it becomes maybe less experimental.
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I think Atom Heart Mother was a good thing to have attempted, but I don't really think the attempt comes off that well.