Gary Rydstrom Quotes
There's no excuse for having a mental or creative block in sound. You can just go out and collect things in the real world - they make the sound, not you. It's very restricting to always use a library for sound effects. It's much more interesting and freeing to go out and record new sounds because you never know what you're going to get.
Quotes to Explore
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I had about four days of like, 'Pity party, woe is me, it's all over.' Then I did some research and spoke with doctors and got in contact with people who have MS, and I soon realized it's actually a lot more manageable than the kind of public perception of it is, and that's part of the reason why I've been so outspoken about it.
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I tell you, 'Firefly'? Best job I ever had. Heartbroken when it was canceled, but had it not been canceled, I never would have gotten 'Serenity'. I think 'Serenity' is the most incredible thing I've ever been able to actually get my hands on and do. I can't even tell you how much love I have for that project.
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I would like to tell the young men and women before me not to lose hope and courage. Success can only come to you by courageous devotion to the task lying in front of you.
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I shall be glad when you have strangled the invincible respectability that dogs your steps.
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I like English, and I like writing essays, and that kind of stuff.
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Writing is a solitary profession; you are really alone when you write. Then the emotions become well shaped and distinct. But their transition into words must be done deliberately and with rigid artistry.
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All the things that human beings suffer from are how their environment treats them, and how the elements of their planet affects their mind and body - like radiation, cancer, and all.
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One believes others will do what he will do to himself.
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We are a nation in which freedom is alive in the squares and streets, in the daily work of the communications media, in the open relationship between the governing and the governed.
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Poetry is one of the destinies of speech... One would say that the poetic image, in its newness, opens a future to language.
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When I'm not on tour, I love to have a long breakfast at home in my garden.
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It's really important how you say things because people won't necessarily remember what words you used, but they'll remember how you made them feel.
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The pain is always bringing me a lesson. If I listen to the lesson when the pain is manageable, the pain won't get gargantuan and flatten me entirely, because I will have received the message at the center. I receive it as gently as I can, because the cruelest thing that I do to myself is try to push myself through an experience.
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Heaven help the man who kicks the man who has to crawl.
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I had a reporter ask me how much I weigh. I said to him, 'You go first: How much do you weigh?' People always ask me what I eat. Other artists don't get asked these questions.
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One thing I've come to learn about myself is that I have to keep going.
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I've always been quite an active person especially when I was younger. When I was in primary school, I used to play lots of sports. I was a sprinter and I did basketball and swimming and Gaelic football and things like that. So I always thought, I guess, that it would be fun to incorporate that much physical activity and work into a dramatic piece.
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One can say that the author is an ideological product, since we represent him as the opposite of his historically real function. (When a historically given function is represented in a figure that inverts it, one has an ideological production.) The author is therefore the ideological figure by which one marks the manner in which we fear the proliferation of meaning.
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My family was in two businesses - they were in the textile business, and they were in the candy business. The conversations around the dinner table were all about the factory floor and how many machines were running and what was happening in the business. I grew up very engaged in manufacturing and as part of a family business.
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We get real picky about frequencies. Put it on a tape, start on tape, and it's kind of locked to how it sounds. Which would have been a very interesting thing to have done, but we were very aware that we wanted a bizarre kind of production value on the record.
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There's no excuse for having a mental or creative block in sound. You can just go out and collect things in the real world - they make the sound, not you. It's very restricting to always use a library for sound effects. It's much more interesting and freeing to go out and record new sounds because you never know what you're going to get.
