I spent a year pulling all-nighters and driving around in a really tiny fuel-efficient car relying on the kindness of strangers and seeing this incredible range of landscapes throughout the United States. That's what happened with The Honesty Room. It was a huge night and day switch.
Mortal City was really influenced by geography. [The song] "The Ocean" is the Pacific Northwest. Southern California and New York also figure into songs, and Iowa. "February" is very much about New England. "Mortal City" is Philadelphia. The whole album is this anthropomorphized landscape where the metaphors live in this geography.
I feel that this is a vocabulary that I grew up with. This biblical landscape is very familiar to me, and it's natural that I use those landmarks as references. Once they were universal references and everybody understood and knew them and located them. That's no longer the case today, but it is still my landscape.
What's exciting to me now is the idea in participating in a landscape of moviemaking that's completely different - the way you can make a movie with a 5D or something and what's going to come out of that. Especially the generation under us who grew up with the internet. When they are making films in the next ten years, they're gonna be so different from what we've seen before because their whole worldview is so different.
On TV you can't show landscapes. You just can't. Even a postcard is better.
(Landscapes) are too close to painting. And TV has nothing to do with painting. It's just transmission. And you can't transmit a landscape, happily enough.
China hasn't only existed for one day. Now, the whole nation has become richer and it's become a problem. The problem is universal. The factor is big. Everybody has to rethink the balance of the world and the whole landscape.
I moved to New York when I was almost 21 and I've lived there for almost eight years, now I have a totally different relationship to L.A. There's like all this space and it's so beautiful seeing all these different landscapes and all my friends are here so now I really like it so much but my adjustment period was a little like "What a strange town".
I noticed that when I was on Prozac my relationship with the landscape improved. I actually stopped thinking about myself for a minute or two, because most of the thoughts one has about oneself are involved with desire or loneliness or isolation or strategies to overcome them.
Any of the decisions that I made, if one could actually locate a shape or form, were all within a wall, the landscape of music.
Australia has always put out some good design, particularly environmental graphics. I associate that with Australia, more so that a lot of other places. Whether that has anything to do with the landscape, who knows?
The defining aspects of westerns are still pretty much in place - namely landscape and conflict. In other books the conflict can be internal, but in westerns it usually plays out on a big stage.
I grew up in North Devon, by the sea, and feel a special affinity for the landscape there, despite a lack of actual ancestry.
My muse can take the form of a landscape, an era, a style of writing, a piece of music, and, perhaps that which I find strangest of all for a muse, a human female. Of course, she's also adept at taking the form of toothless old Japanese men or young English lads with tattoos.
Mr. Assad is not going to be able to feel like there is a moderate opposition that actually threatens him. Currently, the Assad government looks out at the landscape, sees the rise of ISIS, sees that much of the rebel force has become largely Islamist, and then turns to the West and says, well, you know, they look toward the West and say, well, look, what you have is a terrorist group that's fighting against us. So in this context, I think, to talk about moderate opposition being created to put pressure on Damascus is rather illusionary.
Apart from those other riders there is a whole production team [ of The Fourth Phase] behind the cameras too, hauling hundreds of kilos of fragile and awkward filming equipment up those same frozen landscapes. They're the real heroes.
The press and free speech landscape has totally changed. There is far less news reporting today. Instead, we have this endless stream of - largely meaningless and speculative - analysis by sideline commentators and self-proclaimed "experts."
Art has become more than painting, sculpture or music: art is more than Van Gogh painting a landscape or Wagner composing an opera. The whole of reality itself has become the object of art.
Like trillions of others, if it wasn't for Bob Dylan, it would have been a different musical landscape. Pop music wouldn't have been my thing at all. I did also grow up listening to The Beatles, but I never thought of being a Beatle.
I am very fond of the people, landscape, poetry, music, history and the Guinness. Being there makes me think of my mother and my grandmother - always sentimental and warm thoughts.
The Congo is really beautiful. People correct me and say, "Oh, you mean the Democratic Republic of the Congo." Well, fine. But, the land there, the landscape is extraordinary. It's big lakes and beautiful hills and trees.
I'm very American in the sense of being an explorer. America is filled with people who are interested in exploring landscapes, either external or internal. A westward nation of explorers.
The internet is like a surround system, a landscape at its most benign, a closed system of surveillance and self-surveillance at its more sinister. Something we can no longer imagine an outside of.
There's something when you're always immersed in the natural landscape where it becomes your healer, in a way, at the same time that it also becomes sort of frightening. I guess that's how I see things, in that form of duality.
I consider my work non-objective and I think abstract is an abstraction of something, like a landscape. Abstraction means something is abstracted. It relates to something. Non-objective relates to nothing. It has no object.
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