I actually don't see that strong of a connection between my background as a rock 'n roller and my early films. In a way I think your musical identity in film work is determined by the jobs that come your way.
My favorite thing to hear from people is, 'I left the theater and couldn't stop thinking about it.' You want your work to have an impact after they leave the theater. It's the equivalent of leaving a musical humming a show tune.
There's something about uninterrupted singing that just doesn't work for me, because at some point, I need my characters to talk. Without meaning to offend anyone, a musical like 'Les Miserables' would be the last thing I'd ever be interested in.
So many of the sounds that contemporary composers were trying to create were to be found in the traditional musics of the world. That was encouraging but also little daunting to think that you had to work so hard to be new and yet it was old.
I am under no illusion that I will ever be the greatest opera composer in the world, with Wagner and Verdi and Strauss before me. I think my work could fit very nicely into musicals, though.
I was creator and executive producer of 'The Brady Bunch' on TV. The stage version was done by others, but it was a repeat of the old scripts. The 'Gilligan' musical is a completely original work with all seven characters and 18 original songs.
I wanted something that had the feel of a complete band and a variety of instrument. Apart from doing the album for musical satisfaction, I felt it was an important statement for other women - showing you don't have to rely on other people to do thin...
When I was at Stratford, the very first thing that I was commissioned to work on was trying to make a musical out of the documentary material about the General Strike, which was the next big historical event in England, after the First World War.
I feel like I've matured more musically than I have personally. But I totally embrace what becoming older has to offer. I find the wisdom that comes with each passing year is a trip.
Like Goethe's offers a wide panorama of scenes from the vulgar to the sublime, with passages of wondrous poetry that can be sensed even through the veil of translation. And it also preserves the iridescence of its modern theme. From it Oswald Spengle...
O Solitude! if I must with thee dwell, Let it not be among the jumbled heap Of murky buildings; climb with me the steep,— Nature’s observatory—whence the dell, Its flowery slopes, its river’s crystal swell, May seem a span; let me thy vigils ...
Lift not the painted veil which those who live Call Life: though unreal shapes be pictured there, And it but mimic all we would believe With colours idly spread,--behind, lurk Fear And Hope, twin Destinies; who ever weave Their shadows, o'er the chas...
Interrupting what promised to be a long spate of fatherly advice, St. Vincent said in a clipped voice, “It’s not a love match. It’s a marriage of convenience, and there’s not enough warmth between us to light a birthday candle. Get on with it...
The novel was born with the Modern Era, which made man, to quote Heidegger, the "only real subject," the ground for everything. It is largely through the novel that man as an individual was established on the European scene. Away from the novel, in o...
Like the Nazis, the cadres of jihad have a death wish that sets the seal on their nihilism. The goal of a world run by an oligarchy in possession of Teutonic genes, who may kill or enslave other 'races' according to need, is not more unrealizable tha...
The course of the Rhine below Mainz becomes much more picturesque. The river descends rapidly and winds between hills, not high, but steep, and of beautiful forms. We saw many ruined castles standing on the edges of precipices, surrounded by black wo...
I glared at him. “You didn't leave me alone for five minutes, you left me alone for a week. I could have hacked myself to pieces if there's been more than one mango in the house. You could have come home to a very gory scene. The press would have h...
It argued a special genius; he was clearly a case of that. The spark of fire, the point of light, sat somewhere in his inward vagueness as a lamp before a shrine twinkles in the dark perspective of a church; and while youth and early middle-age, whil...
(visions) of strange cities, of sandy plains, of gigantic ruins, of midnight skies with strange bright constellations, of mountain-passes, of grassy nooks flecked with the afternoon sunshine through the boughs: I was in the midst of such scenes, and ...
...one had to expect very little—almost nothing—from life, Aaron knew, one had to be grateful, not always trying to seize the days like some maniac of living, but to give oneself up, be seized by the days, the months and years, be taken up in the...
Until recently the locus of sexual fantasy was peopled with images actually glimpsed or were sensations actually felt, or private imaginings taken from suggestions in the real world, a dream well where weightless images from it floated, transformed b...
