Quotes About Connection

Sublime is one of my favorite bands; I've been listening to them my whole life.

I respected it. I submerged myself into it. So on a lot of days off I would go and fish with the fishermen and the families that ran the boats. I would go work the fields with farmers. I would go and talk with farmers about growing particular products for me.

What any writer hopes for is that the reader will stick with you to the end of the contract and that there is a level of submission on the reader's part.

People read me but they don't subscribe.

The people, who watched my films in the theatre with their money and bought a subscription to watch my shows, know me as a person.

I just really dig feeling subservient to nature. It brings me a peace and calm. Kind of like a Faustian thing, I think.

Light is a powerful substance. We have a primal connection to it. But, for something so powerful, situations for its felt presence are fragile.

Once you can get a fan to listen to an album a handful of times and really have a lot of substance for them to grasp, then you're looking at having a fan that really appreciates what you do for life and can appreciate coming to see it live.

What I have that's special in my music is substance. It's music that people can really relate to. I know I'm gonna rap something that somebody has already been through in their life, something that they will understand.

The truth is that every single relationship is very complex and full of contradictions; as you get into a more mature relationship, you realize that the contrasts are part of the fabric of every substantive relationship.

One does not substitute oneself for the past, one merely adds to it a new link.

There is no substitute for jamming and getting to know each other on the road.

Language failed me very often, but then, the substitute for me was silence, but not violence.

There's no substitute to actually being in the room and having people in the room feel the force of your audition. It's very hard to beat that.

There's really no substitute for being able to sit across from someone, have eye contact, see and read their body language, hear the inflection in their voice in a real way.

Strictly speaking, there are no real substitutes for sexual satisfaction.

I don't sing to people. I sing for them. I told that once to Elvis Presley. He bought it. After that Elvis sang not to but for the audience. A subtle difference.

It's always a balance between something that touches you intimately and something that you think is going to be generous - I like to find intimate, subtle subjects and bring them into strong story telling.

I'm a Londoner, and I feel I can't live anywhere but London, but I feel more connected to Ireland as a country. I 'get' Irish people and the humour here, which is more subtle.

These are very subtle things, of course, and I don't expect everyone to pick them up consciously, but I think that there is something there that you must be able to feel, there is an energy at work that I must trust my audience will be able to pick up at some level.

My character Lena is somebody who responds to people in a very simple way. I didn't have to take myself off to a darkened room to concentrate, I just had to try and be open. It's an interesting, subtle relationship.

Just knowing that there's somebody else out there - that what's happened on this planet has also happened in many other places - that might change our lives in a very subtle way, but it's interesting to know and worth looking for.

As a member of the audience I don't like it that I can't see what's going on in the eyes and in the face and in the most subtle responses of a performer when I'm more than a few rows back. I find it very frustrating.

When you're in seeing someone like Ellen Page, and you're right then, it's just the two of you. You're locked in. There's this incredible subtlety and control of the actor who's sitting across from you that you're really required to step up your game.