A Quote by Gretel Ehrlich
I like big, open, spare landscapes. There's lots of room. Nobody bothers you... I feel as if I can think there.
Related Quotes
I don't think I'm mainstream. I think what I am is lots and lots of different cults. And when you get lots and lots of small groups who like you a lot, they add up to a big group without ever actually becoming mainstream.
I was really inspired by intense nature and landscapes, and I'm always inspired by open spaces and giving room for things to grow sound-wise and visually. I have a bit of claustrophobia myself which I think translates into my music.
A big, studly football jock like me? I got plenty of blood to spare. For you, I have anything to spare.
I like Italy. I was always at home there, it's a marvelous place to become invisible. Nobody bothers you and nobody is interested in you and I find that very good for work.
The notion that I do my work here, now, like this, even when I do not feel like it, and especially when I do not feel like it, is very important. Because lots and lots of people are creative when they feel like it, but you are only going to become a professional if you do it when you don't feel like it. And that emotional waiver is why this is your work and not your hobby.
We all know the big elephant in the room. The big elephant in the room is African governments. Africa has been totally mismanaged and misruled, but nobody wants to talk about that because of political correctness.
I think people have to sharpen their eyes and look. I always feel like a big sponge: I feel like I learn lots of things by osmosis, and I feel that I'm always absorbing. I mean, when people say, 'What is your inspiration?' I could throw up. I mean, I'm inspired by the fact I get up in the morning. And I'm still here.
People ask me what I do in my spare time, and I look at them blankly, truly believing that I don't even have spare time, and if I did, I'd probably use it for something mundane, like chipping away at the mound of laundry rising to dangerous proportions in the back room.
Whatever art offered the men and women of previous eras, what it offers our own, it seems to me, is space - a certain breathing room for the spirit. The town I grew up in had many vacant lots; when I go back now, the vacant lots are gone. They were a luxury, just as tigers and rhinoceri, in the crowded world that is making, are luxuries. Museums and bookstores should feel, I think, like vacant lots - places where the demands on us are our own demands, where the spirit can find exercise in unsupervised play.
I like a calm life where nobody bothers me.
We can create the sensation of community through the accrual of actions, and that's often the clichéd way that storytelling is talked about, as someone taking a solo, and that's great for lots of reasons. But I don't really like to feel like I'm forced to listen to it in a certain way, or that there is one master reading of performance. I think what we want from performance is multiplicity, which is lots of ways in and through it, because it's for lots of people, and it was created by lots of people, often.
If you try to make your circle closed and exclusively yours, it never grows very much. Only a circle that has lots of room for anybody who needs it has enough spare space to hold any real magic.
Whenever somebody hates you too much it usually means they have deeper feelings for you because nobody bothers to hate you unless they actually feel something.
It's nice to be in a smaller room. I like the big arenas as well, but at my core, I'm a live performer, so it's nice to be able to feel the warmth of everybody in the room.
I just feel like nobody truly understands who I am as a person. They think it's one thing, but they get another. I feel like nobody fully comprehends who I am as a person, as a man, as a living organism in this world.
In London I feel free; nobody bothers anyone and everyone is free to express themselves.
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