A Quote by Duncan Sheik
My second record was all about big ideas - I was trying to make big statements about the culture, about life. I think in a certain way, I was a 27 year old kid with a guitar.
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My second record was all about big ideas - I was trying to make big statements about the culture, about life. I think in a certain way, I was a 27 year old kid with a guitar
Relevance is a big, big question. It's more about what's your definition of being relevant. In the music world, agism is a big issue. It's about youth and youth culture. There's no other art form that I know that requires you to be a certain age.
If my pictures are about anything at all, I think it's about trying to make a connection in the world. I see them as more optimistic in a certain way. Even though it's very clear there's a level of sadness and disconnection, I think that they're really about trying to make a connection and almost the impossibility of doing so.
We live in a culture that encourages us to be big about ourselves, and I think the starting point of trying to build inner goodness is to be a little bit smaller about yourself.
When I think about 1999, I think about being a 19-year-old kid, and I think about my attitude and behavior just toward women with respect objectifying them.
I really wanted to do something positive on the Internet. I wanted to try to get young people talking about, thinking about, life's big questions-make it cool and OK to wonder about the heart, the soul and free will and God and death and big topics like that, big human topics.
There's something about a supernatural universe that you would think would actually make it easier to create tension and build conflict and have big scares and big ideas and big sequences. And that's true in a lot of ways. You can pick the best idea out of a hat.
It's only Western civilization that, God forbid, you talk about dying, when it's the only thing we know for certain, right? Everyone's going to die, so what's the big problem? 'Oh, God. Don't talk about it. Don't think about it.' I mean, I'm one of them. I'm not a big fan of talking about dying.
When I got into the Beatles, I must have only been about six or seven but old enough to take notice. We used to have an old radiogram which, for readers of a certain age, was like a big cabinet thing with a record player inside it.
I am a much happier 27-year-old than I was at 20 years old. I am so fortunate because I have an amazing family, amazing friends and a great support system. I think at 27 it is much easier for me to look at life and appreciate what I have rather than stressing about the little things day to day.
We must not, in trying to think about how we can make a big difference, ignore the small daily differences we can make which, over time, add up to big differences that we often cannot foresee.
I don't think I'll be remembered in a big Michael Jackson, Led Zeppelin way. I think I'll be remembered in this way: by the people who were there, who can't capture or explain it. I'm not trying to brag or anything. It's not about me. It's about facilitating a good time for everyone.
It's just this feeling of when you're a kid, you have these ideas about the world and about people in your life that don't always hold up as you get older and start to realise that things are more complex than you might've realised. That's always a big part of a coming-of-age story.
Success isn't about reaching your goals; it's about striving for things, like the joy of trying to raise a family, trying to be a successful singer, trying to write good songs, trying to be a better person. It's that old thing about life being about the journey, not the destination.
We have big ideas. I just think that's part of how you campaign. You talk to the American people about big things.
I am all for art's finding a large audience. But the way that's happening now, with big works filling big galleries and bigger shows, is mostly stopping statements from being made. Or heard. Or talked about. Or really examined. It's watering things down.
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