Quotes of All Topics . Occasions . Authors
My father always told me I like the ball more than I like playing soccer: since I was a young kid, I was always skilled with it, dribbling furniture around the house. That's how I see football - fun and dynamic - and this goes beyond me; it's a characteristic of Brazilian football.
Color is a big part of what I do. It's like music. There are only so many notes in the scale, but there are endless permutations; there's no limit to the number. Color on the walls or furniture can reflect back and distort the reality of the true colors of lipsticks and eye shadow.
I came out of the womb drawing on everything; I used to draw on my mother's white furniture and her white walls with her red lipstick and my pencils. Little did she know that would later materialize into me doing what I do now - I'm a painter as well and a micromechanical engineer.
Tiles, the best furniture, fabrics, bath fixtures, bronze - just leaf through any design magazine and you immediately understand they're all 'Made in Italy.' We have the premier opera house in the world, La Scala, and behind the Nobel given to CERN is the research of many Italians.
My former assistant used to tell me I have a problem with cushions and she was totally right. The reason is because I'm constantly rearranging things in my house. And if I can't move a whole piece of furniture, the easiest thing to rearrange is cushions. I like to keep things fresh.
The Eisenhower Building - the furniture is mismatched; everything is just bad decor and bad quality. Everybody's looking down at their Blackberry. It's a really frantic, mismatched environment. But on the exterior, it's this whitewashed, gorgeous building. It's a fascinating contrast.
At first, my bedroom had flowers and yellow walls and huge furniture in plastic that was orange and green - and furry green bed cover and everything. Then, I think the day I turned 13, I painted the walls black and put Kurt Cobain on the wall and just changed everything into a dark theme.
I've always thought that design can have equal importance to the idea of internal architecture. Professionally, things can be very dogmatic - you do the architecture, someone else does the interiors, someone else does the furniture, the fabric, etc. But I think design is all-encompassing.
With recording, everything changed. The prospect of music being detachable from time and place meant that one could start to think of music as a part of one's furniture. It's an idea that many composers have felt reluctant about because it seemed to them to diminish the importance of music.
I moved to Hollywood when I was 22. I was married. I had a kid right away. And I had worked as a furniture mover amongst various other jobs, and I'd work eight, ten hours a day to support my family - and I'd come home and write for two hours a night or two and a half, or three hours a night.
I spent 18 months with the furniture parked in front of the radiators, cooking as quickly as I possibly could to use the least amount of gas and electricity. I unscrewed the lightbulbs in the hallway, unplugged everything at the wall so not even the LCD display was blinking away on the oven.
With 'Hannibal,' it's almost like the music is part of the furniture, so as a character goes from one room to another room, or we go from one place to another or whatever, the music is just going with it the whole time the same way that the audience is sort of tracking it and following along.
I mean, in A ball, there were five of us in a two-bedroom apartment. In Double-A, I think there were like eight of us in a four-bedroom house. There's a lot of that going on so that guys can... and the whole time, you're sleeping on air mattresses and you're using Rubbermaid bins as furniture.
The doors between the old man today and the child are still open, wide open. I can stroll through my grandmother's house and know exactly where the pictures are, the furniture was, how it looked, the voice, the smells. I can move from my bed at night today to my childhood in less than a second.
Even one's own home is a kind of anthology of advertisers, manufacturers, motifs and presentation techniques. There's nothing 'natural' about one's home these days. The furnishings, the fabrics, the furniture, the appliances, the TV, and all the electronic equipment - we're living inside commercials.
All writing seems to me worse in the state of proof than in any other form. In manuscript one's own wisdom is rather remarkable to one, but in proof it has the effect of one's private furniture repeated in the shop windows. And then there is the sense that the worst errors will go to press unnoticed!
For the novice furniture collector, buying antiques can seem a rather daunting prospect. Nobody wants to feel that they may not make a wise choice and that ultimately they could be throwing their money away. The main thing is that you should always buy something first and foremost because you like it.
By the late Nineties, we had become a more visual nation. Big-money taste moved to global standards - new architecture, design and show-off contemporary art. The Sloane domestic aesthetic - symmetry, class symbolism and brown furniture - became as unfashionable as it had been hot in the early Eighties.
When I was a kid, there were no credit cards. Instead, retailers offered layaway plans. My mom would go to a store, such as a furniture outlet, choose the sofa she wanted, and put it on layaway. That meant she put a little money down to hold the sofa, and every payday she'd pay a little toward the purchase.
When I first became really interested in building furniture, I went to Toys-R-Us, and spent $200 on Transformers toys. By taking the toys apart and studying how they moved, I was able to figure out how to hide a table leaf, what type of contraption I'd need to slide it under the table. I'm a really visual learner.
My dad came over from Ireland when he was 13 and lived on the streets, working on building sites, and has just retired from his job delivering furniture for John Lewis. My mum has had the same job for 30 years as a sales assistant at Marks and Spencer. They've always been really great; they just want me to be happy.
When you're choosing furniture for your home that's supposed to express who you are, what you are also saying is you want other people to infer what you want them to infer. What if they see something different? Wouldn't it be really depressing if you're trying to be bohemian and instead they see you as Rush Limbaugh?
The elements that create glamour are not specific styles - bias-cut gowns or lacquered furniture - but more general qualities: grace, mystery, transcendence. To the right audience, Halle Berry is more glamorous commanding the elements as Storm in the X-Men movies than she is walking the red carpet in a designer gown.
Authors of light pieces have, nobody knows why, a genius for getting into minor difficulties: they walk into the wrong apartments, they drink furniture polish for stomach bitters, they drive their cars into the prize tulip beds of haughty neighbors, they playfully slap gangsters, mistaking them for old school friends.
In retrospect, I have come to recognise just how astounding my mother was during our childhood. She kept a woodwork shop and made beautiful furniture, as well as raising the pair of us in a society dominated by men. There really is nothing like war to reveal the power of patriarchy, but she always retained her independence.
For my first apartment, when I was first married, I went to the lumberyard and bought stuff and made couches. My then-wife made cushions. I was really very interested in furniture. I was in school for architecture, but I had to live, and making furniture was different from designing buildings, which I couldn't do for myself.
I started off by doing everything myself, driving the truck, going to the woodshop, buying the wood, designing the furniture, cutting it out, making it myself, finishing it, polishing it, and delivering it, and writing the invoice and writing the letters, doing the books, doing the telephone bill and everything else like that.
My father's rooms, as a child, were a very exciting place to be. Not only because of the beautiful models who were coming to be photographed for Vogue or The Sunday Times but also because of the very avant-garde furniture that he had made. He made designs for the investiture of the Prince of Wales in 1969 at Caernarfon Castle.
Until you get pregnant, you never know about baby brands and baby furniture, but it's actually a choice. And Oeuf is a very affordable company, and everything is organic - chemically free, sustainable. It's all beautifully made and can also transition from babies to toddlers. Everything has conversion kits, so it's practicable.
The maker movement is about people who want to gain more control of the human design world that they interact with every day. Instead of accepting off-the-shelf solutions from institutions and corporations, makers would like to make, modify, and repair their own tools, clothing, food, toys, furniture, and other physical objects.
I have seen American determination in people like Debbi Sommers. She runs a furniture rental business for conventions in Las Vegas. When 9/11 hit, and again, when the recession tanked the conventions business, she didn't give up, close down, or lay off her people. She taught them not just to rent furniture, but also to manufacture it.
Netbot was the first comparison shopping company. We realized comparison shopping can be quite tedious if you are driving from one furniture store to another. On the Internet, you can automatically look at a bunch of different stores and see where can you get the best price on a computer or some such thing, so that was the motivation.
When we moved to England in 1986, I was ten years old and I didn't know anything about punk or hip hop. The only words I knew in English were 'dance' and 'Michael Jackson.' We got put in a flat in Mitchum, and the council gave us second hand furniture, second hand clothes and a second hand radio that I took to bed with me every night.
Science fiction has its own history, its own legacy of what's been done, what's been superseded, what's so much part of the furniture it's practically part of the fabric now, what's become no more than a joke... and so on. It's just plain foolish, as well as comically arrogant, to ignore all this, to fail to do the most basic research.
History is moving the furniture around in the house of mankind just about everywhere but the U.S.A. Things have changed, except here, where people come and go through the rooms of state, and everything looks shabbier by the day, and lethargy eats away at the upholstery like an acid fog, and the walls reverberate with meaningless oratory.
There's a real hunger to understand where objects come from, how artists show their understanding of materials. And there's something fascinating about watching people work, whether it's someone engraving a gun or sewing beautiful clothes together. I know that myself; I'll make a piece of furniture and feel the wood's grain talking to me.
Well, 9/11 made me think about the towers, and the fact that I lived in New York for a long time, while they were being built. In fact, I had a studio that was ripped out, along with the whole neighborhood, to put the towers in. I saw them go up. I lived with them, running past them in the morning. And they were like part of my furniture.
I've just finished my 20th book this past year and I'm working on my 21st book about the Middle East right now that I'll finish this year. And I get up early in the morning and when I get tired of the computer and tired of doing research, I walk 20 steps out to my woodshop and I either build furniture or paint paintings. I'm an artist too.
When Elon was 17 and my daughter was 15, they really wanted to move to Canada, where my family is from. I said no, because I wanted to do a Ph.D. in Johannesburg, and I was getting lots of modeling work there. But Elon and I went over to visit, and while I was gone my daughter sold my home and my car and had a big garage sale with all my furniture.
I originally came from Dresden, where Socialist Realism prevailed. Konrad Lueg and I came up with it, for the most part ironically, since I now live in capitalism. It was certainly 'realism', but in another form - the capitalist form, as it were. It wasn't meant that seriously. It was more a slogan for that particular Happening at a furniture store.
I've read about all the sales today. If you're an auto dealer, you're feeling it. If you're a furniture retailer like we are, you're feeling it. If you're a jewelry retailer, you're feeling it. I know some of these businesses because we're in them. Yeah, it's being felt, but it will be felt big time more if we don't do something about it, what's going on.
Our dangers, as it seems to me, are not from the outrageous but from the conforming; not from those who rarely and under the lurid glare of obloquy upset our moral complaisance, or shock us with unaccustomed conduct, but from those, the mass of us, who take their virtues and their tastes, like their shirts and their furniture, from the limited patterns which the market offers.