A Quote by Michael Stipe

The song "Sing for the Submarine" presents my dream world, which is way different from my waking world. It's set in the future and it's post-apocalyptic. — © Michael Stipe
The song "Sing for the Submarine" presents my dream world, which is way different from my waking world. It's set in the future and it's post-apocalyptic.
'Shank' is set in 2015, and it's set in a post-apocalyptic world where the main commodity is food. It's about how five young gentlemen travel around that harsh terrain and survive.
Dude. Post-apocalyptic world. Who does job applications anymore?” “I do.” I squint at it, then him. “What are you paying me?” I angle. “Dude. Post-apocalyptic world. Who does money anymore.” I snicker. First sign of any sense of humor he’s shown. Then I remember where I am and why. I wad it up and throw it at him. It bounces off his chest.
If I hear one of my songs by anybody, it's a dream come true every time for me as a songwriter, because I want to write a song, I want to write a song that the world can sing and will always sing.
There are so many songs out there in the world that - if I know we have to come up with a new cover, then I'll just sit in my room and sing song after song and figure out which one I can kind of sing the best.
Being homeless is like living in a post-apocalyptic world. You're on the outskirts of society.
Another thing we wanted to do, a lot of shows or movies that are in the future or the post-apocalyptic are very bleached, desaturated desert environments and we wanted to do the opposite of that. There's always talk about Chernobyl and the world that environment has recovered has become this idyllic, bizarrely refuge for wildlife.
A mother, after all, is your entry into the world. She is the shell in which you divide and become a life. Waking up in a world without her is like waking up in a world without sky: unimaginable.
If a dream can tell the future it can also thwart that future. For God will not permit that we shall know what is to come. He is bound to no one that the world unfold just so upon its course and those who by some sorcery or by some dream might come to pierce the veil that lies so darkly over all that is before them may serve by just that vision to cause that God should wrench the world from its heading and set it upon another course altogether and then where stands the sorcerer? Where the dreamer and his dream?
It's been said that horror films are experimental forms of art, and I agree. As an actress, you're put in positions and have to experience emotions that are way beyond reality, whether fighting in a post-apocalyptic world or being possessed by the Devil.
Some people suggest that a worldview is like a set of glasses that color the way you see the world around you. A Christian interprets the world one way, and an atheist interprets the same world a completely different way since he's looking through different worldview "glasses."
I always love some sci-fi and any type of post-apocalyptic world idea.
In 'Falling Skies,' I was playing a soldier and a fighter, and then, when I was taken captive, you're still in this post-apocalyptic world.
'Borne,' in a weird way, even though it's a totally different universe, picks up where the 'Southern Reach Trilogy' leaves off, because it's post-apocalyptic.
My mother and father come from that post-Depression, middle-of-World-War -I kind of thinking that says, 'Find a practical job. You know what I mean, Mr. Big Shot? So, you can sing a song ...'
I quite like post-apocalyptic films, things like 'Mad Max' for instance, because they are so full on and there is something quite cleansing about the post-apocalyptic because you can see where we all think we're heading.
To work with Richard [Ayoade] is my favourite thing in the world. He is my favourite person. So, it was great for me to be involved in a project that was, again, so different and with such wonderful actors. Everyone from Submarine is in the film in one way or another, which helps because it really does feel like a family.
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