Musical Quotes
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I, too, am deeply concerned with an overarching idea that dramaturgs are now authors . . .. I am not taking the position that all dramaturgs own copyright, deserve special billing credit, or should receive remuneration akin to that of the playwright. I know from my ears at the Dramatists Guild that almost everyone a writer encounters has suggestions of how to write and rewrite the play or musical to make it work.
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Harmony of period and melody of style have greater weight than is generally imagined in the judgment we pass upon writing and writers. As a proof of this, let us reflect what texts of scripture, what lines in poetry, or what periods we most remember and quote, either in verse or prose, and we shall find them to be only musical ones.
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I think the musical evolution I've gone through has come from all the work with the material.
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It was only after Pather Panchali had some success at home that I decided to do a second part. But I didn't want to do the same kind of film again, so I made a musical.
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As a composer seeking to remain anonymous I am shy of confessing my musical activity. This is intelligible enough. For others it is their chief business, the occupation and aim of life. For me it is a relaxation, a pastime which distracts me from my principal business, my professorship. I love my profession and my science. I love the Academy and my pupils, male and female, because to direct the work of young people, one must be close to them.
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How many chances to you get to make a musical about a serial killer? The minute Tim Burton approached me, I was in.
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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.
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I'd like to make all different kinds of movies. I don't think it would make sense though for my second film to walk straight into a musical even though I'd like to.
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I don't think that the punk sound really became the punk sound until much later. The punk era wasn't really just one musical sound. There are a lot of differences among Television, the Ramones, and the Talking Heads.
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I start with the subject matter I want to write about. Then I make a musical base for that and create an atmosphere with the music. Once I've done that, the lyrics come last.
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We are appalled at the poor taste behind the decision to present this musical at the site where Jews were enslaved and killed.
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A dream role is a role that you can't even picture for yourself. Everything I've ever played I never pictured I would get a chance to play. It [has] gone beyond my wildest dreams. One thing I would love to do in my lifetime is a movie musical. I've wanted to do that since I was a kid. That's what made me interested in acting in the first place. I would do any type of musical, but I love the Harlem Renaissance era. I think a dream role in something that I probably can't see and I don't know when it's going to come.
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Another way of working is setting deliberate constraints that aren't musical ones - like saying, "Well, this piece is going to be three minutes and nineteen seconds long and it's going to have changes here, here and here, and there's going to be a convolution of events here, and there's going to be a very fast rhythm here with a very slow moving part over the top of it." Those are the sort of visual ideas that I can draw out on graph paper. I've done a lot of film music this way.
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On a musical level, I do find it rewarding. It's not like I want to blow my brains out while I'm playing these songs from so long ago. I am still surprised by the way the songs are constructed - note choices, the way the arrangements are made, the way these songs are assembled. I'm still amazed at times.
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I'm writing the book to a children's musical. I got a note from the producers saying, "Can't you make it campier?" So now, I'm trying to determine the camp sensibility of the average eight year old.
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I can spot a musical type. I can tell by looking at a woman whether she is a contralto or a soprano.
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Every word that I say, every song that I sing, and literally every move that I make in Chicaho musical has much purpose.
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I grew up in a very musical household. There was music and dance. My great-grandma was a famous tap dancer in the '40s, my mom was a dancer, she met my dad on the road when he was on tour in the '60s. Music is my heart and soul, it's my love.
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I thoroughly enjoyed working on Enemy of the State. Tony Scott is an important director, and has an amazing ability to express himself, and he doesn't do it in musical terms, he does it in emotional terms. I got along really well with him.
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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."
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We have the insight and the tools to identify and bring to fruition the dormant talent that our artists possess. Favored Nations will be branded as the home base for inspired musical talent.
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Dub music is like a long echo delay, looping through time...turning the rational musical order into an ocean of sensation.
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I grew up in a home filled with music and had an early appreciation of jazz since my dad was a jazz musician. Beginning at around age three I started singing with his band and jazz music has continued to be one of my three passions along with acting and writing. I like to say jazz music is my musical equivalent of comfort food. It's always where I go back to when I want to feel grounded.
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I've been chasing my music dream for a very long time and the acting dream just came up. But there are musical things I want to show the world, so that's my next step.
