A Quote by Terence Trent D'Arby

You have to hit people over the head to make them notice, and I did it. — © Terence Trent D'Arby
You have to hit people over the head to make them notice, and I did it.
You can be Michael Moore and make 'Fahrenheit 9/11,' but that's hitting people over the head, and a lot of Americans don't like to be hit over the head. I want to make films that make people walk out and say, 'Wow, I really question if this is all right.'
I’ve found that festivals are a relatively painless way to meet people and make a few points that need making, without having to hit them over the head with too many speeches.
I've found that festivals are a relatively painless way to meet people and make a few points that need making, without having to hit them over the head with too many speeches.
There was a band in Australia named Midnight Oil, and they were a very, very political, and they literally hit you over the head with a hammer. U2 sometimes can hit you over the head with a rubber hammer.
There are certain things I can't do, certain pitches I can't hit. You stay away from them. You try to wait for pitches you can hit. The bat speed isn't what it used to be. You make up for it by using your head, working counts, getting ahead in counts and getting pitches to hit and hitting them hard.
It's fun to do a comedy and hook people in and then hoodwink them into watching a serious movie. I like to lead in with the comedy and then hit them over the head with a drama.
What is a hit? Who can tell? Who decides what a hit sounds like? I needed to remind myself that a hit is whatever people decide is a hit. I don't make hits; I make music. People make hits.
In low comedy, a character gets hit in the head, and you don't really believe it. In farce, he's hit in the head, but he must be hit in the head. The character requires it.
Wanting people to listen, you can't just tap them on the shoulder anymore. You have to hit them with a sledgehammer, and then you'll notice you've got their strict attention.
She'd hit me before but never over and over and over and over into the head.
There are horrible people who, instead of solving a problem, tangle it up and make it harder to solve for anyone who wants to deal with it. Whoever does not know how to hit the nail on the head should be asked not to hit it at all.
You see, Dash -- I was never the girl in your head. And you were never the boy in my head. I think we both knew that. It's only when we try to make the girl or boy in our head real that the true trouble comes. I did that with Carlos, and it was a bad failure. Be careful what you're doing, because no one is ever who you want them to be. And the less you really know them, the more likely you are to confuse them with the girl or boy in your head.
I know that big people don't like questions from children. They can ask all the questions they like, How's school? Are you a good boy? Did you say your prayers? but if you ask them did they say their prayers you might be hit on the head.
When you make a book or you make a movie, it is almost like hitting on somebody. It's not because you want to seduce people that you will seduce them; you can hit on somebody and it doesn't work. But when you hit on them and it works, then it's really cool.
David's mother would often tell him stories were alive. They weren't alive in the way people were alive,or even dogs or cats. People were alive whether you chose to notice them or not, while dogs tended to make you notice them if they decided that you weren't paying enough attention. Cats, meanwhile, were very good at pretending people didn't exist at all when it suited them.
You always measure success by what you did last. It's hard to measure that because it's something that just comes. If someone can just make a hit, they would do it everyday. But you can't make a hit that you know is a hit every day.
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