I went to the park and saw this kid flying a kite. The kid was really excited. I don't know why, that's what they're supposed to do. Now if he had had a chair on the other end of that string, I would have been impressed.
What surprised me about directing is how much I loved it and how happy I am to be on the set. I love coming to work in the morning. What I realized is that I never loved acting. I don't love being in the hair and makeup chair. I don't [love] being in costume. To me the strangest thing is that I've just spent the majority of my life in one aspect of this business, and because I was fortunate enough to become successful I never questioned whether I felt at home and found out later in life that I'm much happier directing.
Now, this is the fun part about getting stoned. They get stoned, then they become paranoid. Now, when they started out, they said, "Let's get high and have fun." So they're high; now they're paranoid. "Am I falling out of this chair?"
If I'm stuck, I get up from my chair and I wash windows. Or... clean the bathroom. Or vacuum the attic. There's always something to be done.
The physical body is assembled just like a chair or a building or a flower, but the revolutions we start, the people we affect and inspire, that is eternal. So, in that respect, we do achieve immortality, and that makes me less fearful.
Somehow, Rush can still sell out arenas. If I was sitting in row one, I would take my chair, unbolt it from the ground and run away.
There's constant drama, and I'm busy, busy, but at the center of the madness is the desire to write, the need to write. That desire, that need, is as palpable and relentless as any junkie's craving, and will possess me all day until I can park myself in a chair and do my work.
Civilization is drugs, alcohol, engines of war, prostitution, machines and machine slaves, low wages, bad food, bad taste, prisons, reformatories, lunatic asylums, divorce, perversion, brutal sports, suicides, infanticide, cinema, quackery, demagogy, strikes, lockouts, revolutions, putsches, colonization, electric chairs, guillotines, sabotage, floods, famine, disease, gangsters, money barons, horse racing, fashion shows, poodle dogs, chow dogs, Siamese cats, condoms, peccaries, syphilis, gonorrhea, insanity, neuroses, etc., etc.
I try to make images that have the immediate presence we take for granted in objects - a chair, a shoe, a book, a Judd - and compose them like sentences.
Breaking my neck was the best thing that ever happened to me. I have an Olympic medal. I've been to so many countries I would never have been, met so many people I would never have met. I've done more in the chair, ... than a whole hell of a lot of people who aren't in chairs.
I sometimes, in my sprightly moments, consider myself, in my great chair at school, as some dictator at the head of a commonwealth. In this little state I can discover all the great geniuses, all the surprising actions and revolutions of the great world in miniature. I have several renowned generals but three feet high, and several deep-projecting politicians in petticoats. I have others catching and dissecting flies, accumulating remarkable pebbles, cockleshells, etc., with as ardent curiosity as any virtuoso in the Royal Society.
In life, you gotta do something. And the medical journals keep on saying if you've got a goal or some passion in life, you'll outlive all the other guys who - the bank manager that retired. They gave him a rocking chair and he rocked himself to death. So you gotta have a passion, whatever it happens to be. Whether it's this or something else, it doesn't matter, as long as it's a reason to get out of bed every morning, as my accountant of 50 years keeps on saying.
He sits in an old armchair in the corner covered with bits of blankets and a bucket behind the chair that stinks enough to make you sick and when you look at that old man in the dark corner you want to get a hose with hot water and strip him and wash him down and give him a big feed of rashers and eggs and mashed potatoes with loads of butter and salt and onions.I want to take the man from the Boer War and the pile of rags in the bed and put them in a big sunny house in the country with birds chirping away outside the window and a stream gurgling.
Between the years of ninety-two and a hundred and two, however, we shall be the ribald, useless, drunken, outcast person we have always wished to be. We shall have a long white beard and long white hair; we shall not walk at all, but recline in a wheel chair and bellow for alcoholic beverages; in the winter we shall sit before the fire with our feet in a bucket of hot water, a decanter of corn whiskey near at hand, and write ribald songs against organized society... We look forward to a disreputable, vigorous, unhonoured, and disorderly old age.
The whole thing is you don't want to be pigeon-holed as 'Oh, he's a guy in a wheel chair. He's very fragile. You better watch out.
Playing college soccer was going to be the top of my athletic feats. I wasn't going to the Olympics. I was a decent player, but it's because of hard work, not because I was Freddy Adu. I wouldn't have a medal from the Olympics if I wasn't in a chair. I wouldn't have gone to the Olympics and experienced the whole atmosphere.
I've done films where you have to get in shape for purely vanity reasons, when you read a script, turn to page 87 and it says: "Rips his shirt off and casually throws it onto chair" - and you're going to go to the gym the next day because nobody wants to see your big fat arse out there taking your shirt off!
I have my set rigged with the biggest sound system possible and have a mini jack for my iPod attached to my director's chair. I find playing music is a very direct way to communicate with actors and the crew, especially those crew members who are on the periphery of the set. I like dancing on set too, it's a good way to release tension.
I quite like it to be risky. I'm not ready to sit down in a chair with my name on it yet. I've arrived at that point in the art world where there really is a chair that you sit in.
You never know what's going to happen, so I get up at 6 a.m. every morning. It's a new wakeup call for me, for sure. But you just want to be polished. That way, if anything happens, I'm ready to go. I'm not going to sit in a makeup chair for an hour and be like, "Then I'll go get the story."
There is a certain silence that can emanate from a lifeless object as from a chair lately used, or from a piano with old dust upon its keys, or from anything that has answered to the need of a man, for pleasure or for work. This kind of silence can speak. Its voice may be melancholy, but it is not always so; for the chair may have been left by a laughing child or the last notes of the piano may have been raucous and gay. Whatever the mood or the circumstance, the essence of its quality may linger in the silence that follows. It is a soundless echo.
You can't sit on two chairs at once.
Keelhaul the poets in the vestry chairs.
My father died when I was 10; my sister got polio a couple of years later and was paralyzed. So there I was - my sister in a wheel chair, my father gone, and my mother a quiet little mouse. You see, it was the '30s in the South, so my mother was not prepared to cope. So I was scared to death. And being that scared, everything afterward became a struggle not to go down the drain. Struggling became a way of life for me.
Once rehearsals are done the writer really doesn't have a function on the set. If the script is stabilized, then the writer becomes a celebrity tourist visiting the set, trying not to get in the way. It's very good for the ego, to go visit a film set if you are the writer, because they give you a special chair, and tell you where you can sit to watch the monitor. They make you feel special, but at the same time, they make it perfectly plain that you are irrelevant!
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