We were at Pye Studios for half an hour so we set the gear up and we did two tracks. A month later we found out it was selling thirty thousand copies a day.
Maybe its a case of one guitar feeling a certain way to the hands that makes one subsequently move differently over the strings, but my intent is always to wring the maximum emotional resonance out of the object in hand.
I know it is a somewhat delicate matter to refuse a gift, but in this case the statue is so atrocious that every endeavour should be made to keep it out of the church.
There was this enormous burst of sculptural creative juice in the nineteenth century, and all that stuff is just so decorative. Even in pieces cast from a mold, you get a more sensuous, handmade, individual sense from it.
Sometimes I have to accept a job I don't really want. Hardly anybody comes up to you with a commission; it's all competitions these days.
A building is hard to judge. It takes many years to find out whether it works. It's not as simple as asking the people in the office whether they like it.
Washington is the only city in the world where you can go to a black-tie dinner and there at the foot of the table is a television set up to catch a press conference.
When I went to college, I thought I was going to become a professional musician. I was a French horn player, so I went to Yale to study with a very unusual French horn player.
I always say, 'What if you had to sell the house tomorrow?' And if it's too idiosyncratic, someone won't buy it and then it's a bad house.
It's an incredible dilemma to be an artist of color and to always be in denial about that, saying, 'I'm a choreographer first and then I'm black,' when in fact, that's not the case. I'm black first and then I'm also a choreographer.
Topshop is one of my favourite shops, and I love shoes by Giuseppe Zanotti. There's a graduate fashion designer called Kate Falcus who makes me beautiful commissioned pieces - one of my favourites was the white Glastonbury dress she made me with the ...
Raymond: Do you want me to pour it Frank? Frank Booth: No I want you to fuck it. Shit, yes, pour the fuckin' beer!
Frank Booth: We got to go to Ben's, right? Paul: Right, we've got to see Ben. Frank Booth: Oh yeah, we got to, got to, got to, got to.
We always work at least a month to six weeks before we go on the road, usually for something like eight to 12 hours a night. It took six weeks to do it this time. We just play virtually everything we know.
Wolf: I'm Wolf. Where did they transfer you from? Frank Morris: Atlanta. Wolf: Nice town, Atlanta. Frank Morris: I never saw it.
Sheryl: [after Frank tried to commit suicide] I'm so glad you're still here. Frank: Well, that makes one of us.
Frank: [reading what Dwayne is writing on his notepad] But. I. Am. Not. Going. To. Have. Any. Fun. Frank: Yeah, we're all with ya on that one, Dwayne.
[the origin of her nickname] Hotlips O'Houlihan: [to Frank Burns, during sex, not knowing everyone is listening] Oh, Frank, my lips are hot! Kiss my hot lips!
Elvira: So do you want to dance, Frank, or do you want to sit there and have a heart attack? Frank Lopez: Me, dance? Hey, I think I wanna have a heart attack.
I think space, architectural space, is my thing. It's not about facade, elevation, making image, making money. My passion is creating space.
I'm not so interested in technology for technology's sake. I don't need incredibly sophisticated climate-control systems. And I'm absolutely amazed at the time people spend exchanging messages; I don't have a lot of time left over for those things.
