A Quote by Bill Henson

There's something about the processional nature of the architecture, of the rooms connecting rooms. It's just breathtaking. — © Bill Henson
There's something about the processional nature of the architecture, of the rooms connecting rooms. It's just breathtaking.
There is something so deeply visceral about libraries for me-rooms and rooms full of people dreaming and remembering.
When I am in New York, you know, my studio is big, about 20,000 to 25,000 square feet, and I have painting rooms and rooms I do etching in, rooms I do lithographs.
America’s drug problem is not going to be solved in courtrooms or legislative hearing rooms by judges and politicians. It will be solved in living rooms and dining rooms and across kitchen tables – by parents and families.
I've got about three or four rooms of records, and two rooms of instruments.
We're told that independent film lovers... folks that are used to watching art house films, won't come out and see a film with black people in it - I've been told that in rooms, big rooms, studio rooms, and I know that's not true.
I love playing. If it was down to just that, it would be utopia. But it's not. It's airplanes, hotel rooms, limousines, and armed guards standing outside rooms. I don't get off on that part of it at all.
Now, in the sixties we were naive, like children. Everybody went back to their rooms and said 'We didn't get a wonderful world of just flowers and peace and happy chocolate, and it won't be just pretty and beautiful all the time,' and just like babies everyone went back to their rooms and sulked. 'We're going to stay in our rooms and play rock and roll and not do anything else, because the world's a nasty horrible place, because it didn't give us everything we cried for.' Right? Crying for it wasn't enough.
Mies van der Rohe's architecture and modern architecture in general suffered from not only being repetitive, but not explaining to the populous what the different rooms were for.
The earth's biosphere could be thought of as a sort of palace. The continents are rooms in the palace; islands are smaller rooms. Each room has its own decor and unique inhabitants; many of the rooms have been sealed off for millions of years. The doors in the palace have been flung open, and the walls are coming down.
I made the decision that I didn't want to spend my life in rooms and write about rooms, or else make books that are researched constructs. I think you do have to get out there and live it. Thriller and genre writers seem to understand this.
In my books, there are a lot of people stuck in rooms. Or, conversely, out in the wide open. It seems that, in a funny way, when people are cooped up in rooms they are freer than when they are wandering about in the world.
Twenty years ago, you'd see guys busting rackets in locker rooms. Today they do it in their hotel rooms.
When you have to negotiate for survival, and you have to know how to read rooms, and you have to know who the bad guys in the rooms are - who has the gun in their pocket, who's just going to brandish it, and who's going to actually pull the trigger. So I think that's just a natural instinct that comes with coming from where I come from.
My goal was to play 350-capacity rooms in the U.K. and, if I was lucky, 100-capacity rooms in Europe. I just wanted to play music and make money off it.
Locker rooms and grill rooms are still the best places to find out things you don't know - at the Masters or any other golf tournament.
I've gone to big stadium rock concerts at some artist's invitation, and there's this invariable, fascinating and rather sad situation of concentric circles of availability. There are Green Rooms within Green Rooms literally within Green Rooms. There are seven or eight degrees of exclusivity, and within each circle of exclusivity, everyone is so happy to be there, and they don't know that the next level exists.
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