A Quote by Daniel O'Sullivan
I don't feel like the real, transcendental sound experiences I've had in my life have anything to do with intellect.
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Music, to me, was - is - representative of everything I like most in life. It's beautiful and fun, but very rigorous. If you wanted to be good you had to work like crazy. It was a real relationship between effort and reward. My musical life experiences were just as important to me, in terms of forming my development, as my political experiences or my academic life.
Language is the soul of intellect, and reading is the essential process by which that intellect is cultivated beyond the commonplace experiences of everyday life.
I think people hear the words 'transcendental meditation' and 'paganism,' and that's almost worse because it's real. Those are real things. Those are absolute energies. Satanism is like Halloween. Transcendental meditation and having a realization of how we really are - whether we want to be or not - we live in a pagan culture.
I hold back parts of my life and experiences... I don't want to share anything just for the sake of sharing and exposing myself, but if something feels right and I feel inspired by the situations or moment I'll definitely share it. There are so many stories and experiences I have not shared, and I don't feel compelled to.
The Life of the intellect is the best and pleasantest for man, because the intellect more than anything else is the man. Thus it will be the happiest life as well.
Transcendental Meditation is a mental technique, so you travel to this field through subtler levels of mind, and then subtler levels of intellect, and then, at the border of intellect, you transcend and experience it.
Your real life is in the here and now. Once you figure out what kinds of experiences cause you to feel certain ways, you can change either the experiences, or when that's not possible, change your responses to them.
I don't feel like I sound like anybody from Houston. I don't really feel like I have that Houston flow, that Houston sound. I feel like it's a mixture of all the things I've listened to growing up, or even my mom, in a way. I feel like I have my own style.
I know who I am as an artist and I know what my sound is, but I wanted to know what I could do in order to take it to that next level. So the experiences I had last year of moving to California and traveling to places like Rome and Nicaragua where I met a lot of people just had a really big impact in my life.
I want my paintings to give the viewer a true sense of reality - that includes but is not limited to depth, scale and a tactile surface as well as the real sense of what the subject looks like and is feeling at the time that I painted them. There should be a discourse between the viewer and the subject, to feel as though they are in a way connected. My goal is not to set a narrative but rather to have the viewer bring their own experiences to the painting and the subject as they would if they had seen the subject on the street in real life.
I've had some painful experiences in my life, but I feel like I'm trivializing them by using them for a scene in a movie. I don't want to do that. It just makes me feel kind of dirty for having done that.
In anything I've ever written, all the characters sound like me, which I don't think is a bad thing. It makes sense. But I had always admired filmmakers who made movies that didn't sound like them at all.
Deep down, all directors feel like frauds - because it's built into the nature of the job. You're the jack of all trades and the master of none. The cameraman knows the camera, the sound man knows the sound equipment - and you? You can't do anything: You can't do the acting, you can't dress the set, you don't record the sound or shoot the images.
I feel like I missed a whole period of my childhood because I had a bunch of stressful things happen to me when I was like 17, 18, when people usually feel the most free in life, like going to college and like anything is possible.
I feel blessed to have had the accumulation of life experiences that I've had, life experience just adds to the depths of a persons richness, as with acting!
What I strive to do is make my characters seem like real people so that the reader experiences them as people - that's something I've been working on all of my life. I couldn't have written this novel at twenty or thirty, for technical reasons - I didn't have the technique then - but above all because I didn't have the life experiences I have now at sixty-seven.
