When I was 13, listening to Choice FM, I would listen to a lot of R&B from America, and whenever a British person tried to do it, it didn't really work, they just sounded like they were trying to copy that whole style. Now the music sounds British, s...
I make music, and if people like it, they like it, and some people won't.
Studying music, everyone sort of has their own style - it's not like everyone's going for the same part.
My mum loved Joan Armatrading and used to play her records all the time and even took me to see her a couple of times when I was really quite young. I didn't really like her music back then because my mum was always playing it, but I've grown to appr...
I go to a club to relax and hear the music on a big sound system. I don't go to pull a guy.
I went to my first drum n' bass rave when I was 16 and remember being terrified. Looking around, trying to figure out how to dance to this music, watching some girl in some hot pants, trying little ways to learn her movements.
I went to the Brit School for the performing arts in Croydon at 14, picking music as my main subject, and I'm so glad I did. I knew lots of people who'd gone there, so I always had my mind set on it.
I don't use composers. I research music the way I research the photographs or the facts in my scripts.
I record all of my music with authentic instruments in a studio before we start editing, doing many, many versions. The music shapes the film as we edit so it has an organic relationship to the content.
In most films music is brought in at the end, after the picture is more or less locked, to amplify the emotions the filmmaker wants you to feel.
I think the problem with a lot of the fusion music is that it's extremely predictable, it's a rock rhythm and the solos all play the same stuff and they play it over and over again and there's a certain musical virtuosity involved in it.
To say that an artist sells out means that an artist is making a conscious choice to compromise his music, to to weaken his music for the sake of commercial gain.
Louis Armstrong is quite simply the most important person in American music. He is to 20th century music (I did not say jazz) what Einstein is to physics.
I've made three studio albums and one live one with my brother. It's melodic singer-songwriter acoustic-rock music.
When it comes to music, it's my clothes, it's my guitar, it's my voice, it's my song.
My brother is the lifelong musician; he made the choice to do that when we were very, very young kids. I remember him playing in bands and listening to the music he was writing in the house - he's nine years older than me.
I have been as influenced by music and films as by books.
I decided to restore 'Napoleon' after a widescreen festival at the Odeon Leicester Square in 1968. It was run by Richard Arnell and George Dunning, who animated and directed 'Yellow Submarine,' and they'd got their hands on the last scene, the tripty...
I grew up on soul music. I was a dancing little creep.
Each kind of generation of bands forgets how they got here. Waylon Jennings came out and they're like, 'That's not Patsy Cline.' And everyone panicked, like, 'I don't know what happened to country music, but this isn't it.'
I try to spend a lot of time thinking of what it is I want to say, and how I want to say it. Mainly because I know what it's like as a fan to hear music that is just exactly what I needed.
