There are people I've worked with who have never understood how fashion works. They keep saying they love fashion, yet they've never actually grasped that this isn't yoghurt or a piece of furniture - products in the purest sense of the term.
I love film, and I would love to be a part of something that people universally love as a piece of film. Sure. Of course I would. And I would love to take acting lessons, and see that side of it someday. But I'm a musician.
I would really like to play someone contemporary, as I've done lots of period pieces. I would love to play an American bimbo or a grimy Londoner. But I'm probably more suited in people's minds to playing a corseted victim.
I actually love doing period pieces, purely because it takes you into a different world, mentally. The clothes you have to wear are so far from our everyday clothes that it immediately helps with the character and putting you in that mind frame.
I always think it's important to choose your initial theme very carefully because you're going to be married to it for a long time. You might have to generate an hour's worth of music from a very short, little piece of theme.
I haven't heard any music on the BBC World Service in a long time. Maybe I'm listening at the wrong times. But not one single piece of music.
I wrote The Same Sea not as a political allegory about Israelis and Palestinians. I wrote it about something much more gutsy and immediate. I wrote it as a piece of chamber music.
Where would I be without Johann Strauss's beautiful 'Blue Danube?' Without this piece of music I wouldn't be the man I am today. It's a tune that brings out the emotion in everyone and makes them want to waltz.
We'd never expect to understand a piece of music on one listen, but we tend to believe we've read a book after reading it just once.
Most of my early records were not cohesive at all, just collections of demos recorded in different years. 'Odelay' was the first time I actually got to go in the studio and record a piece of music in a continuous linear fashion, although that was wri...
I'm also very pleased that we were able to include a full orchestrated score for Dragon's Lair 3D. The 40 different music pieces blend with the action to make you feel more a part of the whole adventure.
In some types of music I'm working out all the chords one bar at a time - the whole structure, because it's about that. And there are other pieces which are really about - okay, the melody is going to start here and play through to here.
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.
When the movie's done, you talk about either the score or source music over a particular scene, what might work. You just throw a piece of music over the scene, and we both listen to it.
One of the things I particularly enjoyed doing was taking raw sound from locations during the film, like the candy machine, and writing pieces of music to go with them, which is totally unnecessary within the context of the film, because they have th...
It is better to make a piece of music than to perform one, better to perform one than to listen to one, better to listen to one than to misuse it as a means of distraction, entertainment, or acquisition of 'culture.'
I always write with music. It takes me a while to figure out the right piece of music for what I'm working on. Once I figure it out, that's the only thing I'll play.
I think recordings have been a terrific advance because now, when you have a piece of music, particularly something that appears to the listener very complicated, there's really a push to the world to try to figure out what it was that he was hearing...
All musicians practice ear training constantly, whether or not they are cognizant of it. If, when listening to a piece of music, a musician is envisioning how to play it or is trying to play along, that musician is using his or her 'ear' - the unders...
If you can use a search engine, you can find any piece of music that's been recorded for free. I'm not saying that's right, but it's a fact, and I'm surprised that more people don't accept or acknowledge that and try to adapt in some way.
It would no doubt be very sentimental to argue - but I would argue it nevertheless - that the peculiar combination of joy and sadness in bell music - both of clock chimes, and of change-ringing - is very typical of England. It is of a piece with the ...
