A Quote by Keith Richards
It's called the mysterious rhythm of life, ... I can't quite account for it. It's probably an addiction, quite honestly. I need that shot of stage every two or three years.
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At every stage, addiction is driven by one of the most powerful, mysterious, and vital forces of human existence. What drives addiction is longing--a longing not just of brain, belly, or loins but finally of the heart.
No, and in fact I get a bit frustrated, because I'm actually quite good at one-liners, and I've had hundreds of them over the years, and they sink without trace, and I get very frustrated. Every party conference I really work on the speeches, and I always have two or three things I'm quite proud of, and no one ever remembers them.
My life is quite physical anyway. When you are three-foot-six you kind of have to climb stuff now and again, and you find yourself in quite precarious situations just to manage in what is quite a big world.
So I went to WCW for three years and quite frankly, it was the most miserable three years of my life in terms of business.
My body doesn't have any rhythm, you know. I've got quite good rhythm when I'm singing but my feet are very much two left feet.
Think of golf as chess. You have to think two or three moves ahead every time you hit the ball. Over every shot, you should be thinking, 'Where do I need to put this ball in order to make my next shot as easy as possible.
Not quite birds, as they were not quite flowers, mysterious and fascinating as are all indeterminate creatures.
It was quite strange, because it's quite different from singing, although it's quite natural because you're used to performing or acting on stage.
I am honestly very intimidated when I meet new people and they expect me to be the onscreen Vir. On stage, I say a lot of things I might never say in real life; I am never the life of the party. People are quite surprised to see that I am more of a quiet artiste off stage.
I'm quite surprised at how out of control I can be on stage because, actually, I find I like to be in control in life. It's quite freeing, really.
While I'm quite happy and love doing the atmospheric and quirky stuff, the melodic stuff, I've done quite a lot of. It's also another reason why I try not to do two or three at the same time.
Whether I'm performing or directing, I'm aways thinking about rhythm; sometimes it's nailing the right rhythm, and sometimes it's intentionally breaking the rhythm. Those two things are what make something funny or not. How long a shot is and where you put the camera are all part of that rhythm of directing.
My style as a human being is to indulge people who need to escape, yet I insist on confronting them as a playwright. It's quite embarrassing, it's quite unpleasant, it's quite awkward.
I sat there for three hours and did not feel the time or the boredom of our talk and its foolish disconnection. As long as I could hear his voice, I was quite lost, quite blind, quite outside my own self.
I just realized quite early on that I'm not going to be the type who can write a novel every two years. I think you need to feel an urgency about the act. Otherwise, when you read it, you feel no urgency, either. So I don't write unless I really feel I need to, and that's a luxury.
I don't see that anybody needs to earn $12 million for three months' work, quite honestly.
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