A Quote by Lars von Trier
A film should be like a rock in the shoe.
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When I embraced the rock hat, when I put it on two or three years ago, when I realized I'm gonna go and make really focused rock albums, it felt like wearing an old shoe. It was a perfect fit.
An idea in the head is like a rock in the shoe; I just can't wait to get it out.
A film has to be like a stone in the shoe.
There was a Yale even before Larry [Kramer] and I got there, and there were three designations of students: "white shoe," "brown shoe," and "black shoe." "White shoe" people were kind of the ur-preppies from high-class backgrounds. "Brown shoe" people were kind of the high school student-council presidents who were snatched up and brushed up a little bit to be sent out into the world. "Black shoe" people were beyond the pale. They were chemistry majors and things like that.
I like "Rock, Paper, Scissors Two-Thirds." You know. "Rock breaks scissors." "These scissors are bent. They're destroyed. I can't cut stuff. So I lose." "Scissors cuts paper." "These are strips. This is not even paper. It's gonna take me forever to put this back together." "Paper covers rock." "Rock is fine. No structural damage to rock. Rock can break through paper at any point. Just say the word. Paper sucks." There should be "Rock, Dynamite with a Cutable Wick, Scissors."
I was not "shoe." That's a misuse of the term "shoe," which is derived from "white shoe."
Air Forces 1s just got that vibe when you're walking in them, it's like, this is a shoe shoe.
The music I like to play is Rock 'N Roll. I like to rock like a wild animal. I like to rock it well enough to whip a yak's ass. I love to rock it good on a horse's ass. I like to rock it real hard. I love to rock it all the way to Russia. I like to kick out the Jazz and kick it out all the way.
I have scars from every film I have made. There is nothing to protect actors. They treat you worse than a dog. You work like a slave, and you know, I like it. That is the way it should be. Every film should be like your last.
There have been times where you do the red carpet in a certain shoe, and you go into the bathroom, you take that shoe off, you put the other shoe on from your purse, and then you walk around for the rest of the night.
When you sketch a shoe but don't have the intention to do a proper shoe, it remains a curvy sketch with no detail. The shoe completely morphs to the body.
You want to fall in love with a shoe, go ahead. A shoe can't love you back, but, on the other hand, a shoe can't hurt you too deeply either. And there are so many nice-looking shoes.
I've never owned an actual trail-running shoe myself, but maybe I should. My favorite paths are fraught with peril, much of it skulking at shoelace level. A rock, a root, an errant pine cone. Wham, and you're down, choking in dust and picking pebbles from wounds in your forearms and knees.
After 'Rock On!,' when I started acting, and I sang in the film, people asked me, 'What was the need to sing in your film?' and things like that. I really don't have an answer for it. In terms of what made me do it? It just felt like the right thing to do.
I've often thought that my background in rock 'n' roll has gone to waste in film work. My background was that I was a rock 'n' roll drummer and I don't think I used drums in my first ten years of film scoring.
I came up with my natural logo and ya know, just dealing with Nike I was like can y'all put my logo on the shoes and, you know. At that time I think other guys had logos or specific names on the shoe. So they was like yeah - let's rock and roll.
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