"Reporters don't know me, because I don't talk to them; I just talk to the players."

--

Source : Source: business.highbeam.com

#Player Quotes #Know Me Quotes #Reporters Quotes

“The Innkeepers were two nerds in a dead-end job and then they try to get involved and they get in over their heads, and how does it affect them? That, to me, just seems like what happens to people.”
“I have considered rap music stars, and there is one in my new book, Lovers and Players, and there is also a hip-hop music mogul who I think you will like a lot.”
“We feel more and more intensely about the music we make. It's unexpected, and not always what you would think of in Beach House. It's all art in the end. We aren't making records because we have to; it's because it's what we want to express.”

Source : "Beach House's Victoria Legrand and Alex Scally are not a couple - so stop asking". Interview with Chris O'Connell, www.avclub.com. March 24, 2010.
“I've been a film geek since I was a little kid and to start with an idea and then get a stack of papers with words on it called a script, then storyboarding the art, and you sit with these guys and now all the sudden it's a movie, and to see fans reactions to it when you put it out.”
“Meditation is not passive sitting in silence. It is sitting in awareness, free from distraction, and realizing the clear understanding that arises from concentration.”
“Life is more than thought: what a man feels, and what his senses awaken in him, are more indispensable to his life's fullness than subsequent reflection on their significance. Both Stirner and Nietzsche have elaborated Faust's opening speech in which he bemoans his wasted years in academia: this speech is Goethe's own impeachment of Kant and Hegel . Philosophy proceeds always under the risk of making a fetish of thinking.”
“I prefer for things to happen serendipitously, but honestly, I also love terrible pickup lines.”

Source : "Biography/ Personal Quotes". www.imdb.com.
“Because most of my career in the classroom has been at art schools (beginning at Bennington in the 1970s), I am hyper-aware of the often grotesque disconnect between commentary on the arts and the actual practice or production of the arts.”

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