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Oh, a passing, skeptical kind of interest. I'm a hammer-and-nails kind of guy.
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
Kind
Hammer
Hammers
Skeptical
Nails
Passings
Passing
Guy
Interest
More quotes by Nick Cave
Your limitations make you the wonderful disaster you most probably are.
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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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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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Texting is apocalyptic on some level. It's a reduction of things.
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My records are basically a litany of complaints against the world, and I'm quite like that in real life as well.
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I always thought my records were number one it's just the charts didn't think so.
Nick Cave
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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You're one microscopic cog in his catastrophic plan.
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All of our days are numbered. We cannot afford to be idle. To act on a bad idea is better than to not act at all, because the worth of an idea never becomes apparent until you do it.
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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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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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Writing screenplays makes me a better musician because it clears my head. After writing a movie, I go running back to music as fast as I can.
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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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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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The writer who refuses to explore the darker regions of the heart will never be able to write convincingly about the wonder, the magic and the joy of love for just as goodness cannot be trusted unless it has breathed the same air as evil.
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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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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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The more information you have, the more human our heroes become and consequently the less mysterious and godlike. They need to be godlike.
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Jesus Christ was the biggest blight on the human race, he was. And all them socialists and communists - second rate Christianity.
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I am not interested in anything that doesn't have a genuine heart to it. You've got to have soul in the hole. If that isn't there, I don't see the point.
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