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Pieces Quotes

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Pieces Quotes

“A Rook is of the value of five Pawns and a fraction, and may be exchanged for a minor Piece and two Pawns. Two Rooks may be exchanged for three minor Pieces.”

“Writing books isn't a drastic departure from writing for the stage. I've always written in the long format, five, eight, 10-minute pieces rather than one-liners, so since writing books, the process hasn't changed much. A piece in my live routine can end up as part of one of my HBO specials, and it can also end up in one of the books.”

“I started to see human beings as little lonesome, water based, pink meat, life forms pushing air through themselves and making noises that the other little pieces of meat seemed to understand. I was thinking to myself, 'There's five billion people here but we've never been more isolated.' The only result of the aggressive individualism we pursue is that you lose sight of your compassion and we go to bed at night thinking, 'Is this all there is?' because we don't feel fulfilled.”

“I heard Joby Talbot's Hovercraft piece for orchestra and felt its immediate physical impact - visceral, unsettling, hungry and direct. These short five minutes became our keystone to unlocking a strangely seductive score that tensions the aggressive force of the White Stripes with the enigmatic beauty of Talbot's own compositions.”

“Several years ago we had an intern who was none too swift. One day he was typing and turned to a secretary and said, "I'm almost out of typing paper. What do I do?" "Just use copier machine paper," she told him. With that, the intern took his last remaining blank piece of paper, put it on the photocopier and proceeded to make five blank copies.”

“A child of three cannot raise its chubby fist to its mouth to remove a piece of carpet which it is through eating, without being made the subject of a psychological seminar of child-welfare experts, and written up, along with five hundred other children of three who have put their hands to their mouths for the same reason.”

“I fell in love with the classical crossover genre when I was on AGT. I found out that I could use the microphone to establish a deeper intimacy with the audience. I did not portray an opera character; I was my true self. I would sing a four-to-five minute piece for the audience and then I could talk to them and say "Hi" to them! I would not need to act out scenes where my character was dying from tuberculosis or killing somebody else on stage, I could have a nice conversation with them.”

“The seven white notes on the piano - each section of the piece (there are 12 sections) is five of those seven white notes. If you calculate it, there are 21 groups of five notes in any group of seven notes. And although there are 12 sections, this piece actually uses nine of those groups because some of the sections repeat earlier ones. So that's the formula. It's very simple as a way of generating something. It's my inner minimalist.”

“Nowhere has truth such a short life as in Sicily; a fact has scarcely happened five minutes before its genuine kernel has vanished, been camouflaged, embellished, disfigured, squashed, annihilated by imagination and self interest; shame, fear, generosity, malice, opportunism, charity, all the passions, good as well as evil, fling themselves onto the fact and tear it to pieces; very soon it has vanished altogether.”

“I chose the American ones, more or less the last five years of the silent era, because those are the ones that aged the best in the way they tell the story. One, it's about human beings with context. It's a very classical story with feelings, with laughter, melodrama and it really works, the good ones - Murnau's American movies, John Ford's Four Sons, King Vidor's The Crowd, or the (Josef) von Sternberg movies. You can watch it now and it still works. I mean they are really, really good pieces so this is where I tried to work.”

“In 1916, when Johnny Heartfield and I invented photomontage in my studio at the south end of the town at five o'clock one May morning, we had no idea of the immense possibilities, or of the thorny but successful career, that awaited the new invention. On a piece of cardboard we pasted a mishmash of advertisements for hernia belts, student song books and dog food, labels from schnaps and wine bottles, and photographs from picture papers, cut up at will in such a way as to say, in pictures, what would have been banned by the censors if we had said it in words.”