As soon as I became old enough to make my dreams my reality, I became a firm believer that the subconscious and the world outside of our flesh and blood is essentially the truth.
Most of us harbour a significant amount of subconscious fear about death, and act out of this fear in our daily lives.
All of the art that I love is about peeling back layers and delving into something that's in a subconscious or dream realm. People like Jan Svankmajer, or the artist Yoshimoto Nara, or David Lynch.
I love tattoos. And mine symbolise who I really am. I have a Samurai on my left arm. At a subconscious level, I connect to this warrior and model myself on his discipline, skills and honour. There is also a tribal tattoo and a Chinese symbol of faith. I have seen a lot of people getting tattoos just because it's a trend.
We cannot always control our thoughts, but we can control our words, and repetition impresses the subconscious, and we are then master of the situation.
I saw music as a way to entertain people and take them away from their daily lives and put smiles on their faces, as opposed to what I see it being now, which is a way for me to actually communicate, and a way for me to tap into my subconscious.
You affect your subconscious mind by verbal repetition.
There's a lot of speculation on what the zombie apocalypse thing means. I have a feeling that it's kind of an expression of our subconscious fears. I think we know that something big and impossible - some enormous crash, equalizing crash, whatever - may be coming around the corner.
Ends and purposes, whether they exist as conscious or subconscious tendencies, form the wrap and woof of our conscious experience.
When you work with a band, obviously you've got to present them with something they can get a hold of, so it has to be a little more fleshed out as a song. And then where it goes is more collaborative, obviously; it's more political possibly, certainly more a conscious process than a subconscious process, which the painting can be.
When you go out onto the stage, all the preparation has to be forced into your subconscious. For the moment of the performance, we all have to return to a new level of unconsciousness. All the reflection and all the doubts have to be laid aside before you start.
Traditions are the guideposts driven deep in our subconscious minds. The most powerful ones are those we can't even describe, aren't even aware of.
I spend most of my time in a room alone where eight hours go by, and I have no sense of time. I work seven days a week, and I live in this sort of vague subconscious fog a lot.
I always liked the idea in 'Potter' that you don't choose the wand, the wand chooses you, and that relics decide when you're ready to handle them. I'm a cinephile first and a filmmaker second, and it's all swimming in the subconscious.
It sort of filtered into their subconscious through motion pictures, but it's an historical secret. This - whatever this is - needs to be studied and, in a kind of definitive way, talked about.
I'm sure there's a subconscious 'go for it' thing with turning 50. You want to do as much as possible and there are thoughts of how little time we have on the planet. For a lot of musicians in their 50s, the best days are behind them. I'd like to try and show that there is a future.
Horror is the future. And you cannot be afraid. You must push everything to the absolute limit, or else life will be boring. People will be boring. Horror is like a serpent: always shedding its skin, always changing. And it will always come back. It can't be hidden away like the guilty secrets we try to keep in our subconscious.
I want to do something original rather than interpret someone else's performance, which is always the risk - even if it's only in a subconscious way. I want to concentrate on giving my own fresh interpretation.
Painters hate having to explain what their work is about. They always say, 'It's whatever you want it to be' - because I think that's their intention, to connect with each person's subconscious, and not to try and dictate.
Your subconscious's goal is to recreate unresolved childhood issues and then hopefully mend them.
There are all these scripts where the women, if they're working, are prostitutes and lawyers with an angry streak who'll kill you. It's a reaction to women leaving their men and men being angry about it and saying it on some subconscious level.
There have been times I've planted stuff in songs where four years later I'll be singing it from a subconscious, kind of chameleon little lizard mind... and at a certain moment, all of a sudden, I'll hear a line from a different vantage point and it'll change its meaning. It's something I wrote but it changed because I did.
I dream a lot. I do more painting when I'm not painting. It's in the subconscious.
Any thought that is passed on to the subconscious often enough and convincingly enough is finally accepted.
I'm also a great believer in the dream life; that while we're asleep, a deep subconscious connection is made about our profoundest fears, hopes, loves, losses, dreads and desires.
Your subconscious mind is trying to help you all the time. That's why I keep a journal - not for chatter but for mostly the images that flow into the mind or little ideas. I keep a running journal, and I have all of my life, so it's like your gold mine when you start writing.
Everyone has a subconscious and automatic preference of this over that. Once you're aware of that, you can take steps to change.
Right before I decided to come out, I went on a spiritual retreat called 'Changing the Inner Dialogue of Your Subconscious Mind.' I'd never been to anything like it before, and all my friends were taking bets on how long I'd last with no TV, no radio, no phone. But for me that was the beginning of paying attention to all the little things.
Sometimes you have compulsions that you can't control coming from the subconscious... they are the dictator inside ourselves.
People like scary stories. There's a fascination with fear themes, and we want to face those things in a weird, subconscious way.
I've never detected a correlation between where I am and what I write. I think there could be something subconscious, though. And I can't really speak for my subconscious.
Stress is a byproduct of subconscious beliefs you have about the world. You can't choose not to believe something. You believe it because you think it's true. To eliminate stress, you must learn to challenge these beliefs so that you see them differently.
Imagination only comes when you privilege the subconscious, when you make delay and procrastination work for you.
Wherever there's an all-encompassing 'always,' 'all' or 'never' in your life, it's a sign that your mischievous subconscious is setting you up for failure by consistently leading you back toward these repeat performances.
I try to not be self-conscious in my writing process. I think it's important to just be in your subconscious mind - at least when you're starting an idea.
The words that I'm most happy with are the ones that come from my subconscious rather than my conscious. They just feel right. I think that's the same with music, really. If you're doing an album, there's ten or eleven sets of lyrics, so you get to the point of inspiration ten or eleven times - it's difficult.