Awe-Inspiring Moment Quotes

The most universally awesome experience that mankind knows is to stand alone on a clear night and look at the stars. It was God who first set the stars in space; He is their Maker and Master . . . such are His power and His majesty.

To sit next to Walter Hill, and to be able to exchange ideas back and forth, and for him to be able to tell you that he likes what you're doing - I don't know. I kind of pinch myself.

One of the greatest experiences I ever had was listening to a conversation with Joni Mitchell and Wayne Shorter. Just to hear them talking, my mouth was open. They understand each other perfectly, and they make these leaps and jumps because they don't have to explain anything.

This dragonfly came up to me. He was hovering right in front of my face, and I was really examining him, thinking, How does he see me? I became enlightened.

God is the experience of looking at a tree and saying, 'Ah!

There is nothing more musical than a sunset.

There's such a history, and to be here, and to feel that, is really amazing.

I was 12 when I was on stage for the first time and had an epiphany that this is what I wanted to do.

In a deep moment of love, thinking stops. The moment is so intriguing, the moment is so tremendously powerful, the moment is so intensely alive, that thinking stops. You are simply in awe, a great wonder surrounds you.

I've had a couple of pinch-me moments.

The poetry that sustains me is when I feel that, for a minute, the clouds have parted and I've seen ecstasy or something.

I was at a picnic, and there were a lot of songwriters. I remember praying, 'God I wish you would give me a song.' About five minutes later, my ears popped, and I saw everybody in slow motion. Nobody knew what I was experiencing.

Stung by the splendour of a sudden thought.

I think meeting someone like, meeting Sam Shepard, that was someone who was kind of important for me, because I'd read so much of his work and watched him as an actor since I was a kid, then being on set doing a scene with him and thinking, 'This is really surreal.'

The greatest value of a picture is when it forces us to notice what we never expected to see.

I am not expecting anyone to feel sorry for me, but when friends ask how it feels to be a debut novelist who has also been long listed for the Man Booker prize, I have to admit that my response has confused me. I am so overwhelmed, so delighted, so honoured and so surprised, I have come out in a violent cold.

When I was a small boy, 10, 11, 12, probably somewhere around there, when I first heard a blues song on the radio, it was a jolt of electricity. It grabbed me by the throat, it made me shiver. And I knew from that moment that this was for me and this would be with me for the rest of my life.

When we're at the end of The Rite of Spring or of a Bruckner symphony, I want people to feel the music physically.

What is important is the moment of opening a life and feeling it touch--with an electric hiss and cry--this speckled mineral sphere, our present world.

There's nothing like sitting in a completely quiet room, and then the strings start up. It's like when you go to the cinema - the first two or three minutes of any film are amazing. Because the screen is so big. The scale. Directors can pretty much do anything for those first few minutes.

People get a real kick out of hearing our songs with an orchestra. It makes you feel like you're in a movie with unexpected bursts of energy. It's really kind of psychedelic in a way.

In fact, I don't think I'll ever make anything that will feel as divinely dropped in my lap as the opening of 'Wall-E.'

My thing I always go back to is that sense of finishing 'Castlevania: Symphony of the Night,' and that castle flipping over, and just going, 'Oh my God, that was amazing! I have so much more to play!' It was astounding. I think I've always been chasing that. I think my entire career, I have been like, 'I want that kind of epiphany.'