The Platters Quotes
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Life should be blissful, and blissful doesn't mean just a small happiness. It's huge. It is profound.
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I love the quality, feel and history of film. I love the pictures of the giant cameras and the way it was.
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This whole world is wild at heart and weird on top.
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I like things to be orderly.
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I discovered that if one looks a little closer at this beautiful world, there are always red ants underneath.
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Music deals with time and timing. It's so magical, but when you get into it, every little sound and every little space between the sounds, it's critical, so critical. And if it's not there, it not only feels wrong, but it ruins things.
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I always say Philadelphia, Pennsylvania is my biggest influence. But for painters, I like many, many painters, but I love Francis Bacon the most, and Edward Hopper.
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To me, a story can be both concrete and abstract, or a concrete story can hold abstractions. And abstractions are things that really can't be said so well with words.
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There's so many problems in our world, so much negativity. Don't worry about the darkness - turn on the light and the darkness automatically goes. Ramp up the light of unity within - help do that for yourself, help do that for the world and then we're really doing something, we're doing something that brings that light of unity.'
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The ocean of solutions is within, enliven that. ... It's a world of clues, a world of mystery but the mystery can get solved, you can find a lot of answers for these things within.
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I believe in creative control. No matter what anyone makes, they should have control over it.
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I love paint. I like watercolours. I like acrylic paint... a little bit. I like house paint. I like oil-based paint, and I love oil paint. I love the smell of turpentine and I like that world of oil paint very, very, very much.
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A film is its own thing and in an ideal world I think a film should be discovered knowing nothing and nothing should be added to it and nothing should be subtracted from it.
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I'm not a real film buff. Unfortunately, I don't have time. I just don't go. And I become very nervous when I go to a film because I worry so much about the director and it is hard for me to digest my popcorn.
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Sometimes I get ideas for lyrics in anyplace, but I work a lot in the studio. So I collect little bits of lyrics. I go through the box of lyrics I have and see if something fits.
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Speaking in front of a large crowd is not pleasant. Once it gets rolling, it's okay. But beforehand, it's murder. I'm getting a lot better. The first interview I ever did was in 1972, I believe, and I couldn't speak. I couldn't speak one word. I only said, 'I painted it black.' That was my one sentence. And so I have improved.
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I found the world completely and totally fantastic as a child. Of course, I had the usual fears, like going to school ... For me, back then, school was a crime against young people. It destroyed the seeds of liberty. The teachers didn't encourage knowledge or a positive attitude.
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The mantra that you're given in Transcendental Meditation you keep to yourself. The reason being, true happiness is not out there, true happiness lies within.
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Bullshit, that's how I feel. Total fucking bullshit.
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Most of Hollywood is about making money - and I love money, but I don't make the films thinking about money.
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The ideas dictate everything, you have to be true to that or you're dead.
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Sometimes I get an idea for cinema. And when you get an idea that you fall in love with, this is a glorious day.
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If we didn't want to upset anyone, we would make films about sewing, but even that could be dangerous. But I think finally, in a film, it is how the balance is and the feelings are. But I think there has to be those contrasts and strong things within a film for the total experience.
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Somehow, the French got this idea of the starving artist. Very romantic, except it's not so romantic for the starving artist.