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But if you're gonna dine with them cannibals Sooner or later, darling, you're gonna get eaten . . .

Nick Cave

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Nick Cave
Age: 67
Born: 1957
Born: September 22
Actor
Author
Composer
Film Director
Librettist
Musician
Novelist
Pianist
Screenwriter
Singer
Singer-Songwriter
Songwriter
Writer
Warracknabeal
Victoria
Australia
Nicholas Edward Cave
Gonna
Later
Cannibals
Cannibal
Dine
Eaten
Darling
Sooner

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I am the captain of my pain.
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I want to write songs that are so sad, the kind of sad where you take someone's little finger and break it in three places.
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When I start writing songs, and they come easily, I'm always very suspicious. That usually means they're reminding me of something I've already done before. When the songs become unsettling, and I feel anxious about what I'm doing, that usually means it's going to be more interesting later on when we actually record the stuff.
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Rock music is the province of the young, and it should be made by young people. I'm not running around in a pair of spandex tights trying to reclaim my youth.
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Songwriting, I have to take myself away from everybody to do. It's an unsightly act.
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Look, when I look back, from 20 onwards, I was actually having a pretty good time, I have to say.
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There's always pain around. That's one thing you can guarantee in life - there will always be a surplus of pain.
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You're one microscopic cog in his catastrophic plan.
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The editing of a song is largely what makes the song for me and I think that actually if I had started going like 'I want you to burn' it would have pinned that song down to a particular thing and made that song a smaller idea than what it is. By leaving that off it's much more open, broader.
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L.A. is full of screenwriters. I don't know why. On many levels, it's such a thankless occupation.
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Death looms large I guess because it should. It's the one thing that we as human beings from birth have a right to. It's the only thing we've really got, and I don't mean to sound bleak about this, but it's a unifying factor amongst us all.
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The body becomes the carrier for the work. It's not really about the physical body it really becomes the apparatus that carries and moves the work. I don't really consider the body as much I look at it as a tool.
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When I start to write a song, I initially fall into patterns and creative habits that are familiar, and because they're familiar, they sound convincing. It's important for me to not pursue those ideas, because I've already done them, but to find ideas that are different and feel strange to write and disconcerting to write.
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No fish can swim until the King is born, until the King is born in Tupelo.
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Film seems to be a medium designed for betrayal and violence.
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After a while, you just don't do things you don't wanna do - that's the great freedom you get, the older you get. You learn what to do and what not to do, and what will be a waste of time and what won't be a waste of time.
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When I’m singing “Deanna,” for example, which I sing pretty much every night, it brings forward a kind of imagined, romanticized lie about this particular person, which I find really comforting and exciting to sing about.
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I'm not in the business of telling people what to do. I'm much more in the business of describing things, situations and stuff like that and leaving them out there, and you can make up your minds about them.
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I've always hated narrative songs. I hate those songs where, basically, it's an unfolding of a story.
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Stars have their moments then they die.
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