PJ Harvey Quotes

Nature is the worst terrorist you can imagine.

Keep in mind that there are many neurotoxins in the world. Dozens of natural and industrial substances have neurotoxic properties.

I don't have to agree with everything a candidate does to support him.

It's always tough for me to make a movie, and then sit on an airplane and watch somebody watch it on their phone.

Margaret Thatcher made tough decisions. She put people out of work and she stood up to labor unions and she did a lot of things that I did not like.

I love it when these Internet dudes say to me, 'Hey man, we just want to be 'content neutral.'

When we talk about Oscars, it's almost as a symbol of excellence, and the American public and the worldwide public accept that symbol.

Debt can be the most addictive thing in the universe, and it can kill you. You get used to living high off the hog. It was intoxicating.

Audiences want to see intelligent movies.

Every time I do a movie like 'Finding Neverland' or 'Chocolat' or 'Shakespeare' in Love,' we deal with the creative process, but there's humor and fun along the way. I always love that kind of movie.

You know, my movies are important on an economic basis, on an artistic basis.

I don't know, I'll probably make the first superhero movie that bombs.

All my movies got screwed up because of my personality.

I've had such a great track record in making a huge profit when the movies are smaller.

I must admit, even though I'm the product of two Jewish parents, I think the Irish temper got in there somewhere, so I'm going to check Mom's genealogy.

I'm sure the next time Piers Morgan asks me to host his show again I will ask President Obama to be my guest.

Like Rodgers and Hammerstein, I'm not afraid to deal with themes about the ups and downs of life, yet which are still entertaining, and you still feel these stories.

All my life, I have loved and been inspired by French cinema, and as a studio head it has been my pride and joy to have the ability to bring movies to audiences around the world.

Mere lack of success does not discredit a method, for there are many things that determine and perpetuate our sanctified ways of doing things besides their success in reaching their proposed ends.

Rationalizing is the self-exculpation which occurs when we feel ourselves, or our group, accused of misapprehension or error.

There is nothing else anything like so interesting to ourselves as ourselves.

Man has long found solace in good talk to offset bad conduct.

I believe in the unconscious state of the mind in death.

I don't think all poems need to be written in conversational language - those are often great poems but there should also be poems of incoherent bewilderment and muddled mystery.

Writing a poem is always a process of subtracting: you start with all of language available to you, and you choose a smaller field.

Poems tend to have instructions for how to read them embedded in their language.

Poems can't help but be personal. Mine are certainly an accurate blueprint of the things I think about, if not a record of my daily life.

Erasures are interesting to me because they prove what particular sieves we all are.

Teaching is a great way to keep learning.

Encountering rhyme out of the blue is like finding a long-lost twin (fraternal), or a suitcase that closes with a particularly satisfying click.

To be a poet you have to experiment.

Usually form seems to find me in the process of writing a poem, though I have nothing against starting out with the form.

Poetic success is when you write a poem that makes you excited and bewildered and aglow.

I do have a tendency to invest inanimate objects with human qualities.

"Confessional poetry" is another one of those labels. It goes in and out of fashion.

In my own writing, I've mostly abandoned end-rhyme, but wordplay is still a huge part of my process.

It's really thrilling to work with an illustrator - your vision expands with the addition of someone else's artwork/artistic vision.

We humans have an amazing way of making everything personal.

I guess I'm a bit of a projector - my emotions tend to get translated into different, fanciful situations.

When I have my students do erasures, I'm always amazed by the way their voice comes through, whether they're doing an erasure of a romance novel or an encyclopedia. Your sensibility will out.

I think all poetry is accessible in a certain sense if you spend enough time with it.

I don't see much difference between prose poems and flash fiction (I've often taught the latter as the former), but then I also don't see that much difference between art and poetry.

A lot of people are writing poems and don't realize it. They have this limited idea of how the poem should sound or what subjects it should address.

What I like about prose poems is that they seem to make people uncomfortable - people want to define them, justify them, attack them. Prose poems are natural fence-sitters.

I am charmed by concrete poetry (but it's very hard to do well, I think) and in general by the idea of mixing the visual and the textual.

I think poetry involves heightened noticing or imagining as well as creating a certain made shape. On the other hand, that shape can be made just by pointing at something and saying, "That's a poem".

I certainly believe you can write a narrative lyric or a lyrical narrative - why not a nyric or a larrative?

I read a lot of graphic novels - some of my favorites graphic novelists or artists are Rebecca Kraatz, Gabrielle Bell, Graham Roumieu, Tom Gauld, and Renee French.

I'm all over my poems, even if their relation to my everyday life is that of dream to reality.

I don't like basements, but definitely basements could be poems. Not fond of skin diseases, but again, there's a pattern. Probably anything could be a poem.