I don't like to be entertaining. I don't like the feeling of being entertaining. If there was a musical or a comedy that was not just for entertainment but was rooted in something I could relate to on a real level, then I think I would do it.
He said that the principal function of music was to organize the details into harmonies that were intended to make us forget that there was randomness all around us. The same, he said, could be said for great books.
It seemed hardly feasible that anyone could tune an oil barrel, and even less credible that the barrel could make music like nothing else in the world. She thought those sounds were magic.
There comes a point with any collaboration like that where you start having other interests creatively. I was moving in one direction musically, and as a guitar player, Mark wanted to move in another direction. That was essentially the reason we brok...
When I tried to play characters that strayed from who I am it ended in disaster. People didn't expect me in comedies or musicals.
I think no woman I have had ever gave me so sweet a moment, or at so light a price, as the moment I owe to a newly heard musical phrase.
None of it means anything unless people see who you really are and your music had to be who you really are it's gotta show how you feel or it doesn't mean anything.
Musically, I always allow myself to jump off of cliffs. At least that's what it feels like to me. Whether that's what it actually sounds like might depend on what the listener brings to the songs.
Chords reel and the mind reels, and for all I know The minds of the Gods reel as well -- "For if the Gods have minds They must be attuned to music and to harmony. Harmony is but the pulse of Chaos And to such pulsation Even stones resound.
Yes, indeed, in fact I would tell you that we go out of our way to be true to the original feeling and sort of sonic and musical pallet that we painted with back then.
You kind of attribute this magic to music and as you meet the people you realize that they don’t contain the magic. They just channel it a little bit sometimes, but they never possess it. They never own it.
Working with Dudley Moore was so hilarious. I don't know how we got anything done because everybody was laughing so hard, but he was such a wonderful man, and he had a kindness and a musicality and a dearness to him that was triumphant.
My first kiss. A new kind of kiss, like the new kind of music still playing, softly, in the distance - wild and arrhythmic, desperate. Passionate.
Like, I kind of developed my musical style in a vacuum. Even though I listen to a lot of stuff, the way I wrote was in my bedroom, really privately. It's still the way I write, actually.
If I made a musical in the beginning of my career, it would have been crane shots and tracking shots and people coming out of cakes and whatever, but these techniques are something that I've left behind me.
It turns out that I'm far too schizophrenic musically for people to categorize me. I think people judge me a lot before they ever really know who I am.
I remember vividly seeing 'Tarzan' and Fred Astaire, the Chaplin films, Fred Astaire musicals, MGM, because of my mother. She was just interested in everything and she took me to opera and ballet, and then ballet got me hooked.
I asked myself one day, 'Would it be humane of me to completely destroy my mind and soul for the music?' I knew immediately that the answer was no, so I knew I had to.
I was more of a dancing kid than a singing kid. I mean, I sang in school choirs and I sang in school musicals, but I was much more interested in dancing than singing.
In 'Seesaw,' I played Gittel Mosca, and because it was a musical, I loved it more because I was able to do anything. I was able to use all parts of me that I don't get to use... the comedy and the singing and the dancing.
Often the inspiration to write music comes from the voices in your head. You’re not crazy. Just be thankful they are not making you rescue people in 20-degree weather at 2:30 in the morning in the forest.
