A Quote by David Foster Wallace
There's a weird kind of paradox that the more expensive the vacation is, the more potentially anxiety-producing it is.
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When you start using more expensive cameras, everything around it gets more expensive, which is something we hadn't necessarily taken into account beforehand. Your lighting package gets way more expensive, and then coloring it is going to be more expensive. So I think all of that will essentially be cushioning our camera package. Budgets beget budgets, and expenses beget expenses.
For me, making a record is a vacation. I'd like to do it more often. Just, chances are impossible... It's a very expensive hobby, you know?
In depression, you're flattened. Your energy level is gone. When I'm anxious, I tend to have more energy. But it depends on the nature of the anxiety. The anxiety to finish something would seem to be more productive than the anxiety that says, "You're feeling sick."
I think that in this globalised world, the local is going to become more and more important - it is a paradox. You see it in Western Europe more and more. Eastern Europe is still coming out of the Soviet uniform cultural era, but this kind of separation and nationalism is very obvious now in Western Europe.
I write weird stories. I don't know why I like weirdness so much ... But when I write, I write weird. That's very strange. When I'm getting more and more serious, I'm getting more and more weird.
It'd be nice to feel that claustrophobic feeling or the anxiety that the film Melancholia produces, but for me I look at it and think about what I was doing that day, where we shot it... It's kind of like a weird memory. It's more a photo album of memories than being able to feel connected to myself. It's not easy to do.
Space travel is the only technology that is more dangerous and more expensive now than it was in its first year. Fifty years after Yuri Gagarin, the space shuttle ended up being more dangerous and more expensive to fly than those first throwaway rockets, even though large portions of it were reusable. It's absurd.
Here we have the paradox, the potentially tragic paradox, that our relatedness to others is an essential aspect of our being, as is our separateness, but any particular person is not a necessary part of our being.
My literature is much more the result of a paradox than that of an implacable logic, typical of police novels. The paradox is the tension that exists in my soul.
Any kind of creative activity is likely to be stressful. The more anxiety, the more you feel that you are headed in the right direction. Easiness, relaxation, comfort - these are not conditions that usually accompany serious work.
Our Western society is showing its technological muscles in ever more threatening ways, but the experience of fear, anxiety and even despair has increased in equal proportion. Indeed, the paradox is that the powerful giants feel as powerless as a new-born babe.
Hence the tension, the anxiety, the anguish of humanity. The more you fight with death, the more anxiety-ridden you will become, you are bound to become. That's a natural consequence of it.
You're always as a musician trying to shock yourself or create music that's maybe even too weird for your own taste. In my case it's kind of weird because I started out being known more for ambient things and ambiguous music, but what's experimental for me is the more traditional structure. For me, experimenting involves traditionalism.
It's because I do see sex as sacred and potentially spiritual that I believe in commercializing it and making this potentially holy experience more easily available to all.
I'm more obsessed with the idea of vacation than any one particular vacation spot. I love to explore new places and cultures.
When I was younger I was influenced by Kanye, his story of coming up and how he kept producing and producing and saying, 'I'm more than just a producer. I'm more than just a writer. I'm more than just a guy in the studio here to give you ideas. I have a story.'
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