Top 21 Projectors Quotes & Sayings

I watch a lot of Turner Classic movies. But I don't do private screenings. I don't have the old school, reel to reel projectors. I do have a big screen TV, though.

It's helpful to just hear things through friends' ears, people who know you well. I guess when I started Dirty Projectors, when I was, like, 20, I always imagined it would be kind of like an amphibious vehicle: something that could go with me wherever I need to go. That kind of constant change has been in the DNA from the beginning.

I've always loved cuneiform; I've always loved the way it looks. I love that it's the world's oldest script. And the creative potential of bad translation or misunderstanding or something has always been at the core of the idea of 'Dirty Projectors.' So the cuneiform is pretty playful - basically, just a joke.

My uncle Les Dolliver was a partner with the Nasser brothers, who owned a string of theaters in San Francisco, and also supplied motion picture projectors and seats for theaters. So I was always around theater people.

I'm supportive of women, absolutely, and it's so gratifying to have girls come up and say, 'I'm really inspired by your guitar playing.' I mean no disrespect to the sisterhood, but musically I feel more drawn to things like Dirty Projectors, the National and Grizzly Bear.

It's weird because movie-making, and especially movie theaters, have always been so old-school, and it wasn't until 3-D that a lot of them were forced to have digital projectors and even digital distribution.

Our eyes are not viewers, they're also projectors that are running a second story over the picture that we see in front of us all the time. Fear is writing that script, and the working title is 'I'll never be enough'

I made, like, five records as Dirty Projectors before I got out of college. And then I put a band together when I got interested in going on tour around that time.

One thing that I've often done under the Projectors is build an album from a central conceit.

Every Dirty Projectors album is a world unto itself.

There is a sort of enthusiasm in all projectors, absolutely necessary for their affairs, which makes them proof against the most fatiguing delays, the most mortifying disappointments, the most shocking insults; and, what is severer than all, the presumptuous judgement of the ignorant upon their designs.

When it comes to music, I am a dictator. Making a Dirty Projectors record come to life is like making a movie; I'm the one that makes the picture, and then we all figure out how to realise it.

Every people should be the originators of their own destiny, the projectors of their own schemes, and creators of the events that lead to their destiny -- the consummation of their own desires.

Dirty Projectors has always been a band that's been card-carrying modernists in terms of pushing different kinds of abstraction to the fore and trying to take them to the center of the culture or something like that.

The projectors in the theater practically shut down with boredom.

The dreams of the past - whether it was public TV being rolled into the classroom to teach Spanish, or the film projectors or the videotapes or the computer-aided instruction drill systems - the hopes have been dashed in terms of technology having some big impact. The foundation, I think can play a unique role there. Now, our money is more to the teacher-effectiveness thing, and technology is No. 2, but I'll probably spend more money on the technology things.

There's been no two Dirty Projectors records that have had the same cast of characters every time.

Smokin weed on the star projectors, I guess we'll never know what Harvard gets us

I decided to restore 'Napoleon' after a widescreen festival at the Odeon Leicester Square in 1968. It was run by Richard Arnell and George Dunning, who animated and directed 'Yellow Submarine,' and they'd got their hands on the last scene, the triptychs. They just showed that part, without music and with the projectors misaligned.

I do have my more concept-y albums, and then I have the ones that are more about just collections of songs. For me, the first Dirty Projectors record that I put out was like that: 'The Glad Fact.'

There's been a bit of confusion about Showscan. The basic problem was, it was film and it was 70 mm and it was a lot of it, so the negative cost was very high, the print costs were very high, and it also required conversion of the projectors and theaters and a lot of costs. I just couldn't get any traction in the theatrical movie industry to do it.