If I’m hanging around too much, my wife and kids say, ‘Hey, why don’t you go downstairs and start a new novel?’
NICK CAVEI think there’s a certain numbness in modern society, that accepts certain kinds of violence, but represses other kinds of violence.
More Nick Cave Quotes
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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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We as visual artists need to continue to be renegades and say, “Yes I am here to do a project, but what is the social service?”
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Texting is apocalyptic on some level. It’s a reduction of things.
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I look at you and you look at me and deep in our hearts know it That you weren’t much of a muse, but then I weren’t much of a poet
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Everyone wants to feel that they matter.
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The society of whores stuck needles in an image of me.
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Moving to the country is a very bold thing to do. You can have vague romantic notions about doing that, but in actuality, it can be a terrifying thing.
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I know when I sit with my band members and we’re playing back a song that we’ve done, I know that they’re experiencing it in a completely different way and hearing stuff that they’re alerted to because the way the interpret the world is through their ears. Mine is through my eyes.
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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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It’s always a risky business inviting somebody on stage. You never know what they’re going to do. I try to avoid letting people join me onstage because it can be very distracting, and overly theatrical.
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The way I go about writing records is that I make a calendar date to start the new record, so I have nothing. I don’t have a bunch of notes that I bring into the office, I start with nothing at all.
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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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That’s what we [outsiders] feel America is really about – the kind of crazed ravings of the Christian right – when it’s probably something quite different.
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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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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.
NICK CAVE