Music Quotes
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I have people telling me what I can and can't do, what music I can and can't make.
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I just lived it and did my own thing without looking over my shoulder. I think I'm very lucky, considering when I started everything, and the fact that I have a masters in music, and I've always worked in music, and that's what I wanted to do.
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Whenever you listen to a piece of music, what you are actually doing is hearing the latest sentence in a very long story you’ve been listening to - all the pieces of music you’ve ever heard.
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I am only interested in celebrating music.
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It's not possible to build a piece that stands successfully without talking about its shape. But if you talk too much, you lead people away from the music itself.
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I grew up listening to 1980s country music, mostly. Early '90s. That time period was my favorite.
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You don't do background music the way a lot of more conventional films do. The music is often kind of a character in your films to the extent that sometimes you stop and watch someone perform a song.
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Growing up, people are like, 'Mary, we'll see you at the Grammys.' You're like, 'I'll be at the Grammys.' Then, you're actually at the Grammys! That actually is happening; it's not just something people are saying because they like your music. It's real!
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The way that I've always gone about making music, the rule of thumb, has just been to make what I love.
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I'm not from a music family at all.
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Some people are really into being music-minded and knowing all their scales and how to read music and speak the language.
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We were a duo on tour, but it was his music and his songs. I was kind of his Vanna White/singing partner/torch-song singer. I was the straight man to his funny man.
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The bucolic mind of East Barsetshire took warm delight in the eloquence of the eminent personage who represented them, but was wont to extract more actual enjoyment from the music of his periods than from the strength of his arguments.
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I'm really into, like, electric pop music and dubstep, things like that.
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So you know when you were work on Man of Steel, in 10 years somebody is going to do the music for Man of Steel, and a different director is going to be doing Man of Steel. That’s the reality. So all you can do is to give it not only your best, but your vision on what this character is, when you become one with that character.
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It's 2013, and you can make music anywhere. We've got laptops.
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When I get home and turn on the radio, I hear songs that are new to me, but to everybody else they're old. I try to keep the music fresh in my head.
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I love Puccini and that oriental influence in his music.
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I sat down with my long time business partner and Rap-A-Lot CEO James Prince to review the music that we had and quickly came up with an outstanding track list.
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People always focus on people like me who use synthesizers, right, which are explicitly electronic and therefore obvious. "Ah, yes, that's electronic music." But they don't realize that so is the concept of actually taking a piece of extant music and literally re-collaging it, taking chunks out and changing the dynamics radically and creating new rhythmic structures with echo and all that. That's real electronic music, as far as I'm concerned.
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I get way down in the music / Down inside the music.
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When you are listening to music it is better to cover your eyes than your ears.
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I've become this voice for a millennial generation of feminism, which is awesome, but at the same time it's complicated. We all know I'm a girl, I'm a woman, but it's difficult to figure out how to talk about it and express how important it is without beating it with a hammer and having it be, "So you're a girl in music! So you're a girl in music!" Yes, I'm a girl in music - can we just talk about something else?
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Then came the choreography... the impact of music and choreography tends to really emphasize an overall feeling of what you really want out of the program.
