It is interesting that our biggest fans are the greatest names of the classical music scene, such as Julian Rachlin, Janine Jansen, Mischa Maisky and Gidon Kremer. They even make guest appearances in our concerts occasionally.
With moviemaking, the audience always has to keep asking, 'What happens next?' If you have the wrong piece of music over a scene, people aren't going to get the scene. If you have the wrong camera angle, people aren't going to pay attention. That's a...
My view is that musicals are love stories with great final scenes. It's just that simple. Musicals are also conflicts between two worlds. And by those criteria, 'The Color Purple' is actually exactly the kind of story that makes for a great musical. ...
Guy Pearce is very precise and clear about understanding the rhythm and the music of a scene.
That's what I love about those old movies - the music is like a constant companion. Even in scenes that aren't particularly dramatic, like a woman checking her watch, you hear the music as a comment on that action.
It's like a piece of music; you never lose sight of the theme. Each scene pushes off to the next like music builds and you can almost hear the next chord progression, so it has a strict structure, which is very compelling.
The L.A. rap scene is popping again because rappers stopped saying 'West Coast.' Nobody says that anymore. Fans of L.A. music were reaching and saying, 'This is West Coast music,' because nobody else liked it.
I really think that the 'Jersey Boys' musical - and this is just my opinion - lends itself to being cinematic in some way, because it's a jukebox musical; the characters break into song only for the scene transitions.
It was one of the marvellous feelings of the film, having the music going in your head while doing scenes.
It is very disappointing to see the Punjabi music scene of today. The lyrical quality has deteriorated; it is only people like Sartaaj and Gurdas Maan Ji who are sticking to their roots.
The music technology scene is changing so fast it's hard to keep up.
I always choose music based on whatever the scene calls for, or whatever my mood is supposed to be.
In the early eighties, there were a lot of artists involved with the music scene. All those young artists, before their careers took off, were into music. Robert Longo used to play some guitar. He had a band for a while. Basquiat had a band. I mean, ...
Before college, I acted in my room, to classical music, because music tells stories. I'd put on a record and proceed, silently. I'd keep putting the needle back to a certain segment because I hadn't died well enough. I had to really, really feel dead...
I was born with music inside me. Music was one of my parts. Like my ribs, my kidneys, my liver, my heart. Like my blood. It was a force already within me when I arrived on the scene. It was a necessity for me - like food or water.
But I just love that music scene so much, and I enjoy really being around those artists and watching them even more than I do performing, because they are a whole group of people that do it because they love music.
During the time that my recording career seemed to be in a slump a music called disco came on the scene and literally took over radio stations as well as having radio stations created to play it which sort of negated my music as well as that of some ...
It was a really interesting time in New York in the late 70s and early 80s, and the music scene was really, really interesting because you didn't have to be a virtuoso to make music, it was more about your desire to express things.
After all, in today's music scene every band seems to steal from other bands.
The religious lifestyle keeps you focused. It's helpful when trying to manoeuvre through the music scene.
I think if you play music and you join a scene you're already too late.
