A Quote by Brent Faiyaz

You work on something for so long that you become numb to it. Like, you don't even know how to listen to it because you listened to it so many times. — © Brent Faiyaz
You work on something for so long that you become numb to it. Like, you don't even know how to listen to it because you listened to it so many times.
There have been numerous times when my career was supposed to be over because of mathematics, you know, age and numbers,' he says. 'How many times can you go platinum? How many times can you rap about the same subject? How many times can you say, 'Oakland?'
I can't even count how many times I've been pulled over. I can't count how many times I've gone to a club and not got in, how many times a security guard has followed me round a shop. I can't count how many times that somebody has asked me if I'm a footballer because I've come out of a nice car.
I am always impressed by the fact that even the tiniest amount of being listened to, the barest suggestion of the possibility of kind treatment, can bring such an immediate rush of emotion. I think this is because we are almost never really listened to. In my work as a psychologist, I am reminded every day of how infrequently we are heard, any of us, or our actions even marginally understood. And one of the ironies of my "listening profession" is its lesson that, in many ways, each of us ultimately remains a mystery to everyone else.
I enjoy singing the songs a certain way, but I don't even know how the writing even began. To me, it's work that is kind of invisible; it's a weird kind of work to have because you're not working, but it's not not work. Formulating your thoughts and making a melody that's catchy enough for people to listen to what you're saying is really hard!
Because we don't know when we will die, we get to think of life as an inexhaustible well. Yet everything happens only a certain number of times, and a very small number really. How many more times will you remember a certain afternoon of your childhood, an afternoon that is so deeply a part of your being that you can't even conceive of your life without it? Perhaps four or five times more, perhaps not even that. How many more times will you watch the full moon rise? Perhaps 20. And yet it all seems limitless.
You know," said Arthur, "it's at times like this, when I'm trapped in a Vogon airlock with a man from Betelgeuse, and about to die of asphyxiation in deep space that I really wish I'd listened to what my mother told me when I was young." "Why, what did she tell you?" "I don't know, I didn't listen.
As an artist, you have to work really, really hard because you gotta make something that will allow people to even take the chance to even listen to it, you know?
Because I would never work for a niche publication or a niche program on television and because I am a journalist and not an opinion person, my job is to try to see how many different points of view I can represent or how. It's not even a question of who you don't offend because you are always going to offend somebody. The question is how can you get people to listen to the information you have to present.
I think the audience doesn't know a movie's lit, but they feel it. Because you've walked in a forest many times, or in a park, so you know how it looks. When you start lighting, subconsciously you know there is something that is absolutely wrong.
I know that often times a lot of people who work in music, whether they be labels and so on or even artists, want personal recognition. We want to be recognized for something, for what we did. I'd rather my song be recognized for what it's doing and that's important. It's not so important how many people know me.
I'm just a music fan. I like pretty much all types of music, and I feel like I can get something out of everything. It just makes work a lot more fun whenever you're working on different things all the times and usually once I work with a band I usually will want to work with them again, just because we become good friends. That sometimes is the only bad thing, is that I work with bands that I already know. That's not really the best thing in the world because I should always be keeping my eyes out on other things.
Just because you "liked" my picture, doesn't mean you shouldn't call me and ask me how I'm doing. You know what's funny? If you ever owe someone a call, and it's something you're trying to avoid, notice how many times they "like" your photos until you call them back. It's an alarm, and people abuse that. They know you can see that. They know you'll see their name.
I'm older now, and I been through that, like, 'Stop. Tell the truth, what I need to do?' And I think that's important, as far as artist, for me to stand for what I believe in, And a lot of times people don't like that, you know what I'm saying. You become a troubled artist, or, 'You don't listen,' but as long as I say 'Yeah, I'll do it!' I'm a good person.
Many of the crew members I work with and continue to work with were friends or have become close friends, and so we keep working together. And I like casting friends of mine or people I know in parts I know would be perfect for them. I like to bring things and people that mean something to me in to my work.
When I was a young student, I only listened to foreign music, mainly rock music and hard rock. Then I surprised myself by discovering ethnic music. Now I like to listen to music from different places, and in many situations. Even when you work, some ethnic music calms the nerves.
There's, what, 300 films at the Telluride or Toronto or something. How many are those people gonna see? How many of those are actually gonna be in a theater, you know? You know, as an actor, I mean, I learned a long time ago that the fulfillment in this business is the doing of it because you can't rely on anything coming out.
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