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Some are exploring the world through the subconscious. I've done that on occasions for various reasons, whether it be illness or self abuse, or whatever. Once things start to look grotesque I don't write them or sing them. I couldn't write them - making nightmares into living daylight...The minute it gets dark I shoot back, retreat.

Nick Cave

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Nick Cave
Age: 67
Born: 1957
Born: September 22
Actor
Author
Composer
Film Director
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Warracknabeal
Victoria
Australia
Nicholas Edward Cave
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Subconscious
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Daylight

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To my undying shame, I do read reviews. I don't read them all, but I like to get some kind of idea how things are going.
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My responsibility as an artist is to turn up at the page or the piano or the microphone. The rest is up to God.
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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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Hamlet got a gun now.
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The more settled I've become, the more problematic my characters have become. There was a period when I wrote sensitive and gentle songs and these came at a time when life was at its most destructive. I think you write about what you need, on some level.
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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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The way I take in the world is by seeing it that is very much evident in the songs that I write.
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People often can't separate, or can't understand, that to be funny is to be serious it's a way of pulling people in and not scaring them off. I think a lot of the funny stuff, underneath it, there's a deep anxiety going on.
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I write songs from the point of view I had at a timeI'm not tryingto write songs from a young person's point of view.That only ends in disaster.
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I became a script writer with absolutely no idea of how to write a script whatsoever. I still feel a bit of an outsider in that regard. If I can maintain that approach to screenwriting, it can continue to be enjoyable.
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Getting married, for me, was the best thing I ever did. I was suddenly beset with an immense sense of release, that we have something more important than our separate selves, and that is the marriage. There's immense happiness that can come from working towards that.
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What I want people to recognize is that we have to keep working together and take charge because we all have the same story.
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I've always been at war with the guitar. All vocalists are fighting a war with the electric rhythm guitar.
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He who seeks, finds, and who knocks, will be let in.
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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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If you look around, complacency is the great disease of your autumn years, and I work hard to prevent that.
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I love America. I really do. It's by far the place I like visiting out of anywhere in the world. I get a palpable sense of excitement when the plane's landing. It's a cliché, but there's still an incredible energy about New York in particular.
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I don't really do Japanese interviews. I don't think there's much call for me in Japan.
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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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We are still struggling with people who don't feel comfortable going into museums. As a visual artist I ask how artists can be part of enacting a change.
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