I was a big fan of John Cassavetes, his wife, Gena Rowlands, and that era of filmmaking which was about realism and which represented the antithesis of the dreamy escapism you found in musicals.
The incalculable winds of fantasy and music and poetry, the mere face of a girl, the song of a bird, or the sight of a horizon, are always blowing evil’s whole structure away.
The sheet of life's music runs in front of us in endless reams, but without the ears that God grants us they don't seem to spawn a single sound.
If one should desire to know whether a kingdom is well governed, if its morals are good or bad, the quality of its music will furnish the answer.
The process of filmmaking is very musical, you get into the rhythm and the rhythmics of how someone is, especially with Woody Allen who is very much into body language and body movement.
In many (most?) churches there are programs and activities... but so little worship. There are songs and anthems and musicals... but so little worship. There are announcements and readings and prayers... but so little worship.
I feel so much more comfortable when I'm working on material which makes other people scratch their heads and ask, 'You're going to make a musical out of that?'
For some there is no music No lights No fire No untamed madness that breathes life There is work Anguish Frustration Rage Despair A dullness that rings like wooden thunder
I think that if you're doing a new musical, you want to have the opportunity to experiment and try things without the whole city of critics looking over your shoulder.
A lot of people on the internet have been saying that there's no way we can pull off a musical in three acts. We just take that as a challenge.
When all of this music sounds like you know what you want to say, then it will have been of all worth, ever. You will be something complete unto yourself, present and unique.
We live in an illusion of safety while we hide in caves made of glass looking for trees of concrete. Even our music resounds with the drums of the past.
There is an hour of the afternoon when the plain is on the verge of saying something. It never says, or perhaps it says it infinitely, or perhaps we do not understand it, or we understand it and it is untranslatable as music.
I basically was in charge of the Jackson 5 - all their creative, when it came down to the studio, and all their musical endeavors. I tried to create a Hitsville on the West Coast.
Pop belonged to more musical people in earlier times, but we've sort of gotten away from that. Now it's software people. I kind of feel like reclaiming it is in order.
To transform a grimace into a sound sounds impossible, yet it is possible to transform a vision into music, to go outside an enslaved personality, to become impersonal by transforming into sand, into water, into light.
I believe in the understanding of difficult situations, difficult music, or any kind of difficulties, through familiarity. Familiarity, in this case, does not breed contempt, but breeds understanding.
Quality is timeless: It will clearly define itself. And so I make reference to and acknowledge things that I feel have been dismissed, trying to restate those musical and cultural elements clearly and vehemently.
I'm always working out; I did ice hockey in high school, but I'm not a dance person. I mean, this was horrible, but I had a dance double in my high-school musical.
My dream collaboration is with Lauryn Hill. Is that ever gonna' happen? Who knows! But there's still a lot I feel like musically I could do.
I'm naturally going to react to that and he'll bring out elements in my musical character that were lying dormant, because I'm relating what he's playing.
