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I've noticed a terrible thing, which is I will agree to anything if it's far enough in the future.

Brian Eno

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Brian Eno
Age: 76
Born: 1948
Born: May 15
Composer
Musician
Painter
Photographer
Record Producer
Singer
Songwriter
Writer
Borough of Melton
Eno
Brian Peter George Eno
Brian Peter George St John le Baptiste de la Salle Eno
Noticed
Agree
Terrible
Future
Anything
Enough
Thing

More quotes by Brian Eno

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I love the sort of ambivalence of this, the ambiguity of something - being, for instance, in a quite busy Mexican restaurant with one of these very gentle tracks playing I remember as being particularly nice.
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Anything popular is populist, and populist is rarely a good adjective.
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I set up situations that involve abandoning control and finding out what happens.
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I had a lot of trouble with engineers, because their whole background is learning from a functional point of view, and then learning how to perform that function.
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The first Velvet Underground album only sold 10,000 copies, but everyone who bought it formed a band
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I'm not interested in possible complexities. I regard song structure as a graph paper.
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Complexity and intelligence grow from simplicity, not from greater complexity.
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One often makes music to supplement one's world.
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Songs that don't depend on composition depend instead on performance - so the fire has to be there in the playing.
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Saying that cultural objects have value is like saying that telephones have conversations.
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I often work by avoidance.
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In my normal life I'm a very unadventurous person.
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You either believe that people respond to authority, or that they respond to kindness and inclusion. I'm obviously in the latter camp. I think that people respond better to reward than punishment.
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The whole history of pop music had rested on the first person singular, with occasional intrusions of the second person singular.
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Feelings are more dangerous than ideas, because they aren't susceptible to rational evaluation. They grow quietly, spreading underground, and erupt suddenly, all over the place.
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The point about working is not to produce great stuff all the time, but to remain ready for when you can.
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People do dismiss ambient music, don't they? They call it 'easy listening,' as if to suggest that it should be hard to listen to.
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You shoot your arrow and then you paint your bulls eye around it, and therefore you have hit the target dead centre.
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The problem with improvisation is, of course, that everyone just slips into their comfort zone and does sort of the easy thing to do, the most obvious thing to do with your instrument.
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Every collaboration helps you grow. With Bowie, it's different every time. I know how to create settings, unusual aural environments. That inspires him. He's very quick.
Brian Eno