A Quote by Anatoly Berezovoy
In space everything is different, you sleep on the ceiling.
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I sleep - laying down, not on the ceiling. Nothing about my life is crazy. I fly a lot, I travel a lot. I eat and sleep like everyone else.
We all have different brow bones, and different amounts of space between the eyebrow and the lashes; the space on the upper lid is bigger or smaller, the space on the bridge of the nose or between the eyes is wider or narrower. Everyone is different.
A window looks outside, but a painting should do the opposite - it should look inside of us. When I put them in the middle of the room, I attach the paintings at the top to the ceiling and on the bottom to the floor. I prefer this to just hanging them from the ceiling because it creates a place in a space, like a wall.
I myself shall continue living in my glass house where you can always see who comes to call, where everything hanging from the the ceiling and on the walls stays where it is as if by magic, where I sleep nights in a glass bed, under glass sheets, where who I am will sooner or later appear etched by a diamond.
So, sleep deprivation, and sometimes an insomnia, which is a little bit of a different form, but just getting a lack of sleep, can lead to a number of different decrements.
It's much easier for me to sleep in space than it is back home. We sleep in a cabin, and you can float inside.
I love punching the ceiling with my fists when I'm lost or I can't find a parking space.
Try to understand what I am saying: everything is dependent on everything else, everything is connected, nothing is separate. Therefore everything is going in the only way it can go. If people were different everything would be different. They are what they are, so everything is as it is.
The best thing we have is sleep, of course, and what is sleep except the putting aside of everything tentative for another interval of final and everlasting truth? Sleep isn't dying, but it is certainly keeping in tough with it.
But as Van casually directed the searchlight of backthought into that maze of the past where the mirror-lined narrow paths not only took different turns, but used different levels (as a mule-drawn cart passes under the arch of a viaduct along which a motor skims by), he found himself tackling, in still vague and idle fashion, the science that was to obsess his mature years - problems of space and time, space versus time, time-twisted space, space as time, time as space - and space breaking away from time, in the final tragic triumph of human cogitation: I am because I die.
I only ever really follow the music, that's what I'm about, I don't think about it too much. I just wanted to make a piece to sleep through, to sort of explore that sleeping space as a listening space and to have a different encounters between our listening minds or hearing minds and music. I think that's really interesting. After that I feel I've done my job.
The idea of, say, the compressed space between the floor and the object hanging over it and then the long space between the object and the ceiling was a kind of interesting idea for me - the idea of compressing and expanding. That was an idea that I worked with, which you could only do sculpturally. You can't really do with a painting on the wall.
I realized early I can manipulate the ceiling in the middle class. The allure becomes how far I can make the ceiling rise.
I have to have eight hours a night. I feel that everything falls apart if you don't sleep. If I spend four hours memorizing dialogue but don't sleep, then the next day I will not be able to stand in front of the camera and say my lines. For me, sleep is the number one thing.
You can look at any industry and sector and then figure out how high is your glass ceiling. Do you want to diversify or do you want to penetrate the ceiling? Because the ones who break the glass ceiling are going to be big-time winners, but it will be a longer-term view on things and requires a lot more courage, a lot more guts.
In romantic comedies there's a certain ceiling and a floor that you can't necessarily love as hard, or hate as hard, or have as much pain, because you sink the shop of the romantic comedy. But in a certain drama, like some of the ones I've been doing, the ceiling and the floor was my own. And in many ways, that was a higher ceiling and a lower floor, so that was more of a band-with for those emotions.
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