A Quote by Angus Young
If you know what you do well and stick to that, I think you can appeal to the different generations. You can strike a chord with them. I've got the brain of a teenager anyway.
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You've got to shake your fists at lightning now, you've got to roar like forest fire You've got to spread your light like blazes all across the sky They're going to aim the hoses on you, show 'em you won't expire Not till you burn up every passion, not even when you die Come on now, you've got to try, if you're feeling contempt, well then you tell it If you're tired of the silent night, Jesus, well then you yell it Condemned to wires and hammers, strike every chord that you feel That broken trees and elephant ivories conceal
The people that do understand how the brain works and how the chemicals are released in the brain when they feel uncomfortable, uncertain or doubtful they do it anyway. They overcome the biological and neurological releases by understanding what's causing them and moving forward anyway.
Songs I do have to strike an emotional chord the first time I sing them.
People didn't know me. So, I had to strike a chord and build relationships.
The fact of the matter is, Obama and the Democrats did a number on Mitt Romney's reputation and his character and his image with outrageous commercials that I thought nobody in their right mind was gonna believe. I know they're gonna appeal to somebody, but they appeal to far more. People may not have believed it specifically, but it did enough damage to make people say, "I don't know. I just don't like this Romney guy. Stick with what we got."
To know whom to strike is competence; to know how to strike is skill; to know where and when to strike is art; to know why to strike is victory.
There was a gas strike, oil strike, lorry strike, bread strike, got to be a Superman to survive.
I have a good friend, Rudolf Serkin, the pianist, a very sensitive man. I was talking to him one day backstage after a concert and I told him that I thought he had played particularly sensitively that day. I said, "You know, many pianists are brilliant, they strike the keys so well, but somehow you are different." "Ah," he said, "I don't think you should ever strike a key. You should pull the keys with your fingers."
Attitudes toward gays have shifted much like they have for animals. People have a hard time relating to those who are different and often strike out against them in ignorance. But society is really starting to wise up at last as more enlightened generations emerge.
I am interested in levels of brain discourse. How articulate are the voices in your head? You know, there's a different voice for the phone, and a different voice if you're talking in bed. When you're starting off with a narrator, it's interesting to think, where is their voice coming from, what part of their brain?
It's interesting to see how people bring different things to them. I think it comes down to the universal appeal of the Holmes-Watson that they can keep being discovered in different ways.
I think Pac is one of those artists that generations on generations know who this guy is, as an artist, as an activist, as an actor - entertainer across the board. I think the new generations of entertainers and artists can be influenced by him just as much as people in the '90s.
I think they've finally realized that women go to see movies as much as men do. Ticket sales are coming from them as well, so why not appeal to them? I think they're finding a way.
One of the things I do well - I think, anyway - is combining different tones.
I don't know what sex appeal is. I don't think you can have sex appeal knowingly. The people who seduce me personally are the people who seem not to know they're seductive, and not to know they have sex appeal.
I never made this film with the motive of making money. I wanted to make a different film, which would strike a chord with the audience. I'm extremely happy that 'Mithunam' succeeded in what it wanted to achieve.
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