Musical Quotes
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With respect to why some acquired savants are musical, and some are good at the arts, and some are mathematical, why aren't they all the same; I think that has to do with this genetic endowment that all of us have.
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And Paul Moravec, not being a theater person, would always trust me when I said things that I am like, "you're going to need another 10 seconds of music year to get them across the stage." But I always knew that the people were going to be coming to hear his music of which my words are going to be a part. It was clear that he wanted to go and direction A., and I wanted to go and direction B. We would've gone and direction A. That's the most important piece of advice I can give to anybody who finds themselves in an opera, or musical comedy situation like that.
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I got started as an actress doing musical theater, and I always loved 'Grease' and 'West Side Story,' and all those kind of movies.
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I would say that I don't look for musical things.
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Jazz, isn't that just a series of mistakes diguised as musical composition?
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The online musical universe has become Balkanized, with many sites focusing on minute niches. That works well for reaching very specific demographics, which is wonderful for advertising, but it flies in the face of the common wisdom that people's tastes have become more diverse as music of any description has become a mouse-click away.
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The fact is that great musical pieces take and hold the stage because they provide great emotional experiences.
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No, I like being a role model because I know how much comfort my musical idols brought me.
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There's more musical freedom on Madison Avenue than anywhere else. It's an Eden for a composer.
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The aficionado prefers a crazy bomb to a mediocrity, because the musical as a form has such potential as entertainment that the merely adequate can fatigue the spirit while the disaster can amuse with its drastic misjudgments and desperation gambles.
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Anytime I'm playing music or getting ready to record, Duane Allman will enter my thoughts, and so will Berry Oakley. It's part of my musical makeup and mental process when it comes to music. We learned to play together and taught each other a lot.
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If you take the creation of music and the creation of your own life values as your overall goal, then living becomes a musical process.
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My musical taste has always been wide. I started out as a folky before I moved on to blues and soul.
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I never knew I'd be in a musical, let alone win an award for one.
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He came from a rock band and even though he was not a lead singer, I knew he was musical just from that. I also knew that he was intelligent enough from talking to him, that he would not play this part unless he could handle it vocally. I knew he was not about to get up there and have to have his voice dubbed or come off croaking. So Johnny Depp casted Johnny Depp. I trusted him entirely. I knew that he was no fool and he would only do it if he felt he could handle it. I told him to listen to the score carefully and if you can handle it, fine by me, and I was right.
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My musical ambitions are not that great. I make music I like, and thankfully - for my ability to make an (fairly...) honest living - at least some others like the music too.
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You have two kinds of shows on Broadway - revivals and the same kind of musicals over and over again, all spectacles. You get your tickets for 'The Lion King' a year in advance, and essentially a family comes as if to a picnic, and they pass on to their children the idea that that's what the theater is - a spectacular musical you see once a year, a stage version of a movie. It has nothing to do with theater at all. It has to do with seeing what is familiar. We live in a recycled culture.
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Originally I had a block about appearing in a musical. I went to a voice teacher for a while, but that did no good. My range is about one and a half notes. I ended up talking the musical numbers, which was revolutionary at the time. The lyrics are extremely intricate. They move along like a precisely acted scene. If you miss a word - heaven help you - the orchestra rattles past like an express train, and you've got to run like the devil to catch up.
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Well, the most important thing in choreographing for a specific tune is to get the story line and try to make your movements, rather than just actual movements, let them become more or less a physical drama to, to what they were singing about. And uh, also, uh, honor the beat and the rhythmic pattern of the musical track.
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The Woodshed Orchestra trade in exuberance and might, a glistening thunderslap on the hind of musical atrophy. These songs leap from disc to lap, a many-legged beast trundling with joy and vision.
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I've held onto little musical sketches that I thought could be useful, and the more time that I spend doing them for each film, then the more I have to draw on.
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Hear this Robert Zimmerman, I wrote a song for you, about a strange young man called Dylan with a voice like sand and glue.
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In terms of theater itself, no story is too strange or method of telling it too impossible these days. In many ways, musical theater has caught up with straight theater in that it's allowed more surreality and breaking of form, and that's really exciting to me - the challenge is getting people to produce those shows.
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Always drawn to the theatric, Bowie also performed in stage productions of "The Elephant Man" and just recently collaborated on "Lazarus," an off-Broadway musical that's a sequel to his 1976 role in the film "The Man Who Fell To Earth."
