I believe that there are still people who believe that game music is something equal to just an effect incorporated into the game, something like a BGM. And therefore this is something that I would like to show that is not true.
I used to be with a publishing house called Roosevelt Music. A gentleman there told me he had seen Peggy Lee perform Fever in Las Vegas and I found out later she wanted to record it.
I don't really live like a musician myself. I think music is just something that I do, but I'd like to be doing lots of other things. I like to cure all kinds of illness.
Many people die with their music still in them. Why is this so? Too often it is because they are always getting ready to live. Before they know it, time runs out.
For me, a paragraph in a novel is a bit like a line in a poem. It has its own shape, its own music, its own integrity.
I always had a dream about trying to make a movie that had no dialogue in it, that was just music and pictures. I still haven't done it yet, but I tried to get close in the beginning.
I tried to take heavy metal... and balled it up and chopped it in half and really tried to create a new form of energy. I really tried to re-shape extreme music as I see it through my eyes.
If you think you're going to work with Cameron Crowe and not get into his music, you're crazy. But he doesn't force it on you. He doesn't force anything on you, which really makes things easier.
Steampunk, the repurposing of Victorian culture and technology for contemporary fun and profit, is so ubiquitous - in media, books, fashion, music, cosplay, and maker culture - that we tend to imagine its superficial aspects are all that define it.
Along the way, I've had different advice from different music producers. I've been told to tone it down, that the quiet parts of my voice are appealing and there's harshness to the loud part of my voice.
I think it is the weak and the young and the minorities that you need to look after to get a healthy creative environment - to get a lot of choices, a lot of different styles of music, a lot experimental stuff that everyone else feeds off.
I don't want to be the cliche American Idol dude. I want to be different, you know - that's the whole goal, me and music. It's about being yourself and being unique.
I have no idea why I won, man. I guess some people liked the music that I was doing. I'm just lucky. I was just doing my thing each week.
I know what my sound is. I'm just trying to get it out there how I can explain it. I'm not trying to write or put out some music that doesn't represent me.
I don't see why I should give my new music to iTunes or anyone else. They won't pay me an advance for it and then they get angry when they can't get it.
I came into music because I thought the presentation of poetry wasn't vibrant enough. So I merged improvised poetry with basic rock chords.
Ornette Coleman is a real musician. He takes all of the things he's thinking about in the world - which is a whole universe upon universe - and translates this into music.
Not only was it enough to be a cover band, it was perhaps the highest calling. After all, if you could play music recorded by others, stay true to the original, and still add fire and flare, why not?
A lot of crime fiction writing is also lazy. Personality is supposed to be shown by the protagonist's taste in music, or we're told that the hero looks like the young Cary Grant. Film is the medium these writers are looking for.
The problem for me, still today, is that I write purely with one dramatic structure and that is the rite of passage. I'm not really skilled in any other. Rock and roll itself can be described as music to accompany the rite of passage.
What I took back, because of my exposure to the Jewish music of the 30s and the 40s in my upbringing with my father, was that kind of theatrical songwriting. It was always a part of my character. This desire to make people laugh.
