A Quote by Riley Keough

I feel like the original 'Mad Max' created such a vivid world, that to go back and re-imagine it and kind of replay in that sandbox sounds like fun to me. — © Riley Keough
I feel like the original 'Mad Max' created such a vivid world, that to go back and re-imagine it and kind of replay in that sandbox sounds like fun to me.
The new 'Mad Max' movie takes place in a post-apocalyptic world. I have a small part in 'Mad Max.' I play the old geezer who remembers what steak tasted like.
With 'Daud,' basically, I wanted to make a very 'Mad Max' kind of a film: that was my original intention.
I don't really watch video, but I see the replay; like when I do strike out, and I'm walking back to the dugout, I look up and see if they do show the replay of me swinging and missing.
So much of the time I'm cast as an asshole or a douchebag, or that kind of thing. I'd like to go back to just playing a guy with a good heart. Usually so much of my stuff is ulterior motives or a dark thing to it. Maybe that's what other people see in me, but I feel like I have a warm side, too, humor and fun. I'd like to play a little bit more of that. Feel-good stuff. Why not?
I think a lot of electronic musicians are drawn to starting with texture because the whole reason we're working with electronics is to try to create new sounds or sounds that cannot be created acoustically. When you're doing that, it's nice to be able to just create a different palette for every single song. I feel like a lot of electronic music sounds like...Each album sounds like a compilation more than it does a band.
I feel like these sounds are the ultimate kind of free sounds, the ultimate public domain sounds. And I feel like people put them in completely different contexts, and they mean something different to everybody.
I remember when replay first came to TV. I can't remember who it was now, but a manager came out to beef about a call, and I ran him. He said he was going back into the clubhouse and watch replay. I told him, 'Go ahead. I am the replay.'
I like [George] Benson because I just like it. I like that kind of style. I don't like the broken up kind of style. I don't like where you play for 16 bars and then break it up into what somebody's version of what birds twittering sounds like, or what the sound of the city is, or what New York sounds like.
I don't like to feel like I'm in a club when I'm in my car and I turn on the radio. Anything that ceases to be a song and just sounds like house music kind of stresses me out.
We always look back at our back catalogue for inspiration for new titles, but when it comes to very old things like the 'King's Field' series, I'm concerned about just mimicking the style of what Naotoshi Zin, the founder of FromSoftware, created for the PlayStation original. I would rather not go back to it simply out of respect.
I feel like the world stopped. And I got off...and then it started spinning again, but too fast for me to hop back on. I feel like I'm still trying to get a...to get some kind of foothold on living
I like 'Goodbye My Lover' because it's a really personal song and I recorded it in my landlady's bathroom in Los Angeles. She had a piano in there and for me listening back to it, it actually sounds like the voice I hear in my head. It's so close to what I can imagine.
If you go back and watch the original 'V,' you're like, 'Oh, I thought this was great. It kind of looks really cheesy.'
I've been in some situations where people have treated me like a fascinating toy. You know, it's just like an interesting kind of fun thing to have a play with. It's very weird for me. I feel like a tiny baby.
Every few years, I go back into all the songs and I update them so that it never sounds like an oldies show. If you come to the shows, they're full of muscle. 'Copacabana' sounds like it could have been released yesterday.
I have an idea. It’s risky, and Max will kill us when she finds out.” Iggy raised his head. “Sounds like my kind of idea.
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