Though I am often in the depths of misery, there is still calmness, pure harmony and music inside me.
There may be a great fire in our soul, yet no one ever comes to warm himself at it, and the passers-by see only a wisp of smoke.
In the end we shall have had enough of cynicism, skepticism and humbug, and we shall want to live more musically.
If I am worth anything later, I am worth something now. For wheat is wheat, even if people think it is a grass in the beginning.
I have tried to express the idea that the café is a place where one can ruin oneself, go mad, or commit a crime.
Creativity is how we cope with creation. While creation sometimes seems a bit un-graspable, or even pointless, creativity is always meaningful.
I don't believe in making pencil sketches and then painting landscape in your studio. You must be right under the sky.
There's lots of fun in this world, after all. And if there isn't, there is in the next. And we're going there, sure.
A garden is to be a world unto itself, it had better make room for the darker shades of feeling as well as the sunny ones.
I was told I would become nothing. Now I am showing people how big nothing is.
If I'm playing with Ozzy it's just a guitar thing. But with the vocals I feel like I'm studying for the SATs.
I had throat surgery. We had to check that out and make sure it wasn't cancerous. I had a polyp on my vocal cord, so I had that taken out.
I feel sorry for these kids in bands. Everything is so disposable nowadays. These kids don't even get 15 minutes of fame, it's like a minute and a half.
I happen to take photographs, and they happen to be used for a lot of things, but they're not really made to order. They're paid for, but they're not made for order. I've never really done real commercial work.
I don't know if I work in order to do something, or in order to know why I can't do what I want to do.
The more commercial work that is happening, the more people are operating cameras and are setting up studio lights, the greater the opportunity for drama production to happen.
I like sparseness. There's something about that minimalist feel that can make something have an immediate impact and make it unique. I'll probably always work with that formula; I just don't know how.
I am certainly not arguing for the de facto autonomy of the individual work, even though there is much to be said for making the attempt to see it in that light as one facet of the reception process.
Do you know why language manifests itself the way it does in my work? It's because I understand short attention spans.
An artist's early work is inevitably made up of a mixture of tendencies and interests, some of which are compatible and some of which are in conflict.
I like to see how other people work and be part of their stuff and see what I can do to be part of their worlds. Its a pretty big challenge, and that excites me.
