Pastoral Resources

Sometimes people mistake the way I talk for what I am thinking.

In symphonic music, when you are conducting, you do the same thing. You are feeling the whole orchestra, thinking ahead so you can prepare for a change.

In jazz, you listen to what the bass player is doing and what the drummer is doing, what the pianist and the guitarist is doing, and then you play something that compliments that, so you are thinking simultaneously and thinking ahead.

Writers want to summarize: What does this mean? What did we learn from this? That's a very 19th-century way of thinking about art, because it assumes that it should make our lives better or teach us something.

At the School of Visual Arts in New York, you can get your degree in Net art, which is really a fantastic way of thinking of theater in new ways.

The worst thing is always thinking of titles for records, with some reason behind them, and she just came out with the word, which she thought was a good word, a hard word, and since then we've sort of attached loads of meaning to it.

You cannot simply put something new into a place. You have to absorb what you see around you, what exists on the land, and then use that knowledge along with contemporary thinking to interpret what you see.

My hand is the extension of the thinking process - the creative process.

You sin in thinking bad about people - but, often, you guess right.

A man's brain has a more difficult time shifting from thinking to feeling than a women's brain does.

I can feel the 60S looming. In my profession, I've just moved along with my age. By thinking in decades, rather than whether someone's 42 or 47, you can give yourself a whole 10 years to turn yourself around in.

My way of thinking is very particular and concrete. It doesn't follow a continuous path.

I didn't think about whether I was writing poems. I was thinking. And the more I was thinking, the more there was I didn't understand.

I'm standing up thinking. Anybody who wants to listen is welcome. If not, I'm happy to see them go.

I wanted to be an inventor, whatever I thought that meant then. I guess I was thinking of Edison or maybe James Watt. Or maybe even Newton.

I'm aware of my audience in a way, and I do try to engage with them while I'm trying to go about my business of thinking. I believe they help me by providing a focus.

I never got to the point of needing drugs or thinking about giving up myself.

Anyone can write a story based on the kind of horror where you see a guy in car and then there's the bad guy in the back seat. It's infantile to rely on that for telling a story. That's like going to bed and thinking there's a monster under your bed. It's silly.

If the gag is complicated, you spend more time thinking about the way you're drawing it.

As far as thinking about death and murder and various ways of killing people and how people die... I probably have the most twisted mind in Slayer.