Well, I've been painting for years. I just started doing a lot more in the last couple.

We have a need to be religious, we need to worship, we need to build totems and shrines and icons, but nobody's sure in honor of what.

The Beatles were something everyone had in common; this was thirty years ago, there was Dr. Who and everybody knew who the Daleks were and there was The Beatles and everybody knew who George Harrison was.

Dreams are a scientific fact.

You realize that the first Bryan Ferry album was pretty good although at the time it seemed a bit cheesy.

I was always jealous of something getting more attention.

People's intelligence tends to be in inverse proportion to their number. People don't tend to get smarter as they get into bigger groups.

In this world of doubt, one thing is certain for me; that I will go on writing songs up to and - I hope, through heavenly means or diabolical - beyond the day I die.

I've been able to make a good living as a musician, but now it's time to do all the other stuff.

Using the word weird implies that there is a norm.

I thin many people's deviant behavior starts with dreams because dreams are so non-linear... as if there's an assumption that everything has to be linear or has to be plotted.

Most songs are somewhere between love and death, and mine are no exception.

After Nashville sushi and a long debate on Bob Dylan, we went into Woodland Studios at 10 pm that night for a look around, and jammed for 5 hours solid.

I was buying Bob Dylan mainly, everything I could get hold of by him.

Every so often you have to increase your profile so you can let it lower again, like a balloon.

You can't censor people's dreams.

I became a musician because that's really what I wanted to do when I was fifteen, but I had other abilities.

After the Soft Boys I just didn't want to work with any more guitarists.

So whenever I hear The Beatles I always feel I've got a lot in common with everybody else.

Everyone has a right to change their consciousness, but ultimately the whole process is misleading.

Everything is a reaction.

Playing acoustic and line drawings are the two things I'm most competent at.

Promoting a record on a major label is like running a minor military campaign.

If people were really naked and everyone knew what each other was thinking, everyone would probably just laugh... or they'd lock each other up.

One of the ideas behind doing this acoustic record is that I didn't want to have to produce it by committee.

If you do things out of time you're weird.

When you think about great teams, The Beatles and the Pythons immediately spring to mind. The Pythons were as much a part of their time as The Beatles.

As soon as someone like me or David Lynch pops up everyone says hallelujah, how weird.

I can tell how I'm doing, and I can tell if the crowd is particularly dead.

As soon as a norm is established, people start questioning it, which is probably a good thing in the end.

Production is something I've never come to terms with.

Well, I've been painting for years. I just started doing a lot more in the last couple.

An un-named song is like an un-named child, it has no identity.

Every so often you have to increase your profile so you can let it lower again like a balloon.

Just as with a guitar you can improvise a guitar solo and theyd probably be similar each time but they wont be exactly the same. With the word its probably a bit freer than that. I probably repeat myself more musically than I do verbally.

The craft of painting has virtually disappeared. There is hardly anyone left who really possesses it. For evidence one has only to look at the painters of this century.

I don't know if it was the whole audience getting stoned out of their minds getting ready for the Floyd thing or what it was, but it was like playing to a painting.

Painting is just another way of keeping a diary.

I don't like painting flowers in my music. I like painting guts and pain.

Painting is a faith, and it imposes the duty to disregard public opinion.

If the weather is good I go into the nearby wood - there I am painting a small beech forest (in the sun) with a few conifers mixed in. This takes until 8 'o clock.

The paintings may communicate even better because people are lazy and they can look at a painting with less effort than they can read a poem.

Life is painting a picture, not doing a sum.

The worlds I paint leave a lot to engage the imagination by hinting at what lies beyond the four edges of the painting. I think getting beyond the four edges of an opportunity or challenge is one of the basic skills you need in business.

When I was in art college, I would be painting, and I would create something on a canvas that was actually quite attractive. But if I got frightened and tried to protect that, that canvas would die.

My movement from painting to film was a very conscious one.

I believe that painting should come through the avenues of meditation rather than the canals of action.

For example, in painting the form arises from abstract elements of line and color, while in cinema the material concreteness of the image within the frame presents - as an element - the greatest difficulty in manipulation.

Coming to understand a painting or a symphony in an unfamiliar style, to recognize the work of an artist or school, to see or hear in new ways, is as cognitive an achievement as learning to read or write or add.