Musical Quotes
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I had been wanting to do a musical for a really long time. I wanted people in New York to know that I can sing.
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I don't have to perform to stay in the public eye anymore. I really don't. I am who I am and what I do on musical stage these days really makes no difference at all. I already have all the momentum there. I am only doing it because I love to do it.
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I think different musical collaborators bring out different qualities in my songs and I like that.
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Setting my mind on a musical instrument was like falling in love. All the world seemed bright and changed.
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We wanted a musical number that would capture the exhilaration of being out on a boat as they were and sailing with the stars and all that. So that's the origin of We Know the Way. From very early on we said, for an audience that doesn't know this, what we need a song that can really have the kind of sweep and the, you know, pull you in. So that was early on, we conceived of like that should be a musical moment [in Maona].
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When we talk of architecture, people usually think of something static; this is wrong. What we are thinking of is an architecture similar to the dynamic and musical architecture achieved by the Futurist musician Pratella. Architecture is found in the movement of colours, of smoke from a chimney and in metallic structures, when they are expressed in states of mind which are violent and chaotic.
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Enclosure, upon its completion, was the record which represented the achievement of all the musical goals I had been aiming at for the previous 5 years. It was recorded simultaneously with Black Knights' Medieval Chamber, and as different as the two albums appear to be, they represent one investigative creative thought process. What I learned from one fed directly into the other. Enclosure is presently my last word on the musical statement which began with PBX.
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Fine declamation does not consist in flowery periods, delicate allusions of musical cadences, but in a plain, open, loose style, where the periods are long and obvious, where the same thought is often exhibited in several points of view.
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I actually did do a musical many years ago with John Waters called Cry-Baby, but technically it was only half me - it wasn't me singing. Tim's Burton the only person brave enough to actually let me try to sing.
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I never learned to verbalize an abstract musical concept. No thank you. The whole point of being a serious musician is to avoid verbalization whenever you can.
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I could never overstate the importance of a musician's need to develop his or her ear. Actually, I believe that developing a good 'inner ear' - the art of being able to decipher musical components solely through listening - is the most important element in becoming a good musician.
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I really think that the Jersey Boys musical - and this is just my opinion - lends itself to being cinematic in some way, because its a jukebox musical; the characters break into song only for the scene transitions.
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I think touring in America lives up to the myth, in all ways of what touring is. So many pretty cities, and it's pretty easy, compared to touring other places. I'm fascinated by America. Great crowds - people are very musical. I've been getting better throughout the tour in America, relating to people. At the start I was a bit stiff, and I'm starting to relax.
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Jazz has the ability to absorb & transform influences from diverse musical styles.
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All musicians practice ear training constantly, whether or not they are cognizant of it. If, when listening to a piece of music, a musician is envisioning how to play it or is trying to play along, that musician is using his or her 'ear' - the understanding and recognition of musical elements - for guidance.
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I consider my musical ability to be a gift from the Creator. It's not that I try to work hard or nothing like that, it's a gift, it was given to me, and I appreciate it.
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I'm hoping to do a Broadway musical on the life of Rasputin. He's someone I can definitely identify with.
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The 1970s was probably the most exciting decade to be a teenager, from discovering Little Richard at the end of the 1960s to glam rock to punk rock to electro music. So much happened in that 10-year span. There were so many musical revolutions. Some were happening at the same time. You had disco going on behind punk. You had Michael Jackson. You had the Sex Pistols.
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I wish and pray there are a lot of young people with technology and way of thinking that can create a brand new kind of musical theatre.
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Thinking should be like musical meditation. Has any philosopher pursued a thought to its limits the way Bach or Beethoven develop and exhaust a musical theme? Even after having read the most profound thinkers, one still feels the need to begin anew. Only music gives definitive answers.
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People are always going to have favorite albums or songs and you know that's more the listener's personal bias than basing it on anything musical or actual. I'm the same way as a listener.
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Being on a film set is like being in tech forever. In theater, when you finally finish rehearsing, you go onstage and you do the lights and the sets and you make the machine of the production work. It takes usually about ten days in the theater, two or three weeks if it's a really big musical. I mean, it's hell on earth. You just sit around forever while they adjust the lights. And every playwright with half a brain runs for the hills when tech starts because it's so boring, and you don't want to talk to the director because the director is running this giant machine.
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I'm not in "Bend and Snap." But, I will say that when I first heard they were making Legally Blonde into a musical, I thought, Well, of course, there's going to be a bend and snap number, because it's just, I think, one of the most natural moments in the movie to expand into a musical number.
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I have come to the definite conclusion that musical ability is not an inborn talent but an ability which can be developed.
