I really want to meet and work with JJ Abrams. Everyone talks about what a nice director he is, and he has kids and stuff, so he sounds really awesome, not to mention he makes awesome movies.
Richard Hannay: Beautiful, mysterious woman pursued by gunmen. Sounds like a spy story. Annabella Smith: That's exactly what it is.
Tony Stark: [Covering his eye, looks around] How does Fury even see these? Maria Hill: He turns. Tony Stark: Sounds exhausting.
Buddy Bizarre: [after the rehersal] Everybody got that? [the actors answer with a heavily lisping "yethhhh"] Buddy Bizarre: Sounds like steam escaping.
As you can appreciate over my lifetime I've developed a large vocabulary of sounds each requiring certain physical techniques often combined with a specific effect box.
I knew that as a DJ from 1970 on up that I would eventually come with this sound. I brought out all these other break beats that you hear so much on a lot of these records.
The problem is, when you're working with orchestras, you only get the orchestra for about two hours before the performance to pull it all together, and that doesn't sound like a real collaboration.
Just the way my voice sounds now, it's always had this little hoarse thing to it. And I'd have to do vocal exercises to make my voice clear.
When I record, it feels like I'm in a bubble. There's nothing else in my head right then. It's just that song, and I'm trying to really sound like what the song is about.
I would kiss you in the middle of the ocean during a lightning storm cuz I'd rather be left for dead than wondering what thunder sounds like.
What hypocrites we seem to be whenever we talk of ourselves! Our words sound so humble, while our hearts are so proud.
Strange, how the name Israel, God's own chosen nation, who don't believe Jesus to be the Messiah, sounds almost the same as saying "is He real?
The authentic Gullah dialect is actually very clipped, and so it would sound almost Jamaican and be very odd to an American audience's ears. It's not the typical Southern dialect that we're used to.
One often thinks that using 2 different things like visual and sound lead to 2 different conclusions - to a different content - but in in my case it is all one.
I mean, Chris is, I'm sure, a wonderful guy. But in those days he also very, very late. For all appointments and departures and arrivals and sound checks and anything.
The Apple has the fewest bells and whistles. It has simple sound and few graphics special effects. In a way, that is a weakness because markets for the other machines are getting bigger.
I hear a lot of bad TV commercials that try to sound like Where It's At. That pretty much turned me off from using the electric piano for a lot of years.
Locations are all tough, all miserable. I never left the sound stage for 18 years at Warners. We never went outside the studio, not even for big scenes.
From doing Power Station, it was like, it's the same guys, but it doesn't sound like them. When we were in Duran, the labels and management wanted more Duran stuff so they could sell it.
In the late 60s and early 70s, I did get interested in voices, and in narration and embodying the voice, making the poem sound like a real person talking.
The one thing you don't want is that stale sound when you've done a line so much you can't find a fresh approach to it. Drop it.
