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Into the mercy seat I climb My head is shaved, my head is wired And like a moth that tries To enter the bright eye I go shuffling out of life Just to hide in death awhile And anyway I never lied.
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
Death
Seats
Wired
Trying
Hide
Moths
Never
Bright
Awhile
Life
Enter
Lied
Like
Anyway
Seat
Mercy
Climb
Shaved
Head
Climbs
Moth
Eye
Tries
Shuffling
More quotes by Nick Cave
Hamlet got a gun now.
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Most people wait for the muse to turn up. That's terribly unreliable. I have to sit down and pursue the muse by attempting to work.
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Oh, a passing, skeptical kind of interest. I'm a hammer-and-nails kind of guy.
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I think I have always had a pretty strong creative impulse. And that has probably saved me from abandoning myself completely.
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I think it's an essential fact for any performer or artist to fail as poignantly as they can succeed.
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There's that kind of song, Whoah baby, I love you, which doesn't have a visual element, but a very strong emotional element, and these are the great songs to me - those ones that you put them on and they just make you feel great, or whatever.
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I see it as my duty in some way is to be out in the world as an Australian putting forward what I consider to be authentic Australian music.
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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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You're collaborating with people you don't even know, when you're making a film. You're collaborating with people you've never seen. So, the collaborative process is very, very different than when you're collaborating on a record with the musicians you've worked with all your life.
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And she moves among the sparrows. And she floats upon the breeze. She moves among the flowers. She moves something deep inside of me
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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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Everybody tends to overplay live. That's just the nature of playing live. And that can be great, but it can also kill something that's special, and intimate, about a recorded version of a song. You find out very quickly which songs you can play, and which songs you do damage to by playing them live.
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The idea of songwriting is a transformative thing, and what I do with songwriting is take situations that are quite ordinary and transform them in some way. Apart from things like the murder ballads, the songs I write, at their core, are quite ordinary human concerns, but the process of writing about them transforms them into something else.
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You're one microscopic cog in his catastrophic plan.
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In getting older, I find myself becoming progressively more ineffectual in a lot of different ways, and part of that is down to no longer having the youthful feeling that what you're doing has any true impact.
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The artistic process seems to be mythologized quite a lot into something far greater than it actually is. It is just hard labor.
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Kylie Minogue is the greatest thing that has happened to Australian music.
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I have to be able to see the thing that's going on that I'm writing about, or else it just doesn't make any sense to me.
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Said 2,000 years of Christian history, baby And you ain't learned to love me yet?
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If you're Australian, you feel it in your bones because you're at odds with everybody else, except other Australians, in the sense that people always seem to be behaving strangely. People always seem to be behaving the wrong way, in a different way. You say things and there are silences.
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