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.
I began with dance, doing ballet at 3, then tap, jazz, modern. Then I sang in church choirs, learned how to play clarinet and drums, sang with rock bands and only then did I get into musical theatre.
Let us feel love, in the sight of our foes. Let our hearts melt, of the sight of hungry ones. Let us sing the music of forgiveness, the melody of love.
I remember really bonding with the first generation kids, the Chinese Canadian kids, and in high school bonding with the Latin kids and the East Indian kids. It was very interesting because it made me open to lots of musical sounds.
I wasn't straining at the bit to become a movie star any more than I had plotted to get out of vaudeville and into Broadway musicals.
Words are music to the ears, alone or together, with or without melody.
When I loved myself enough, I would sometimes wake in the night to music playing within me.
By the time I get done with my fans and my music and my kids and my family and my fiance and my horses, well, they suffer too, but, I don't really have much time left to do anything else.
