I don't have a community like a black community to belong to [with] a musical platform that's been built for years and years and years, or the film-making culture, and I don't have the white one to belong to.
God has provided true musical and spiritual restoration.
The very same book, even if it is translated very accurately, let's say from Hebrew into English or from English into Hebrew, becomes a different book because language is a musical instrument.
Different musical instruments provide for different music.
My musical instrument is Hebrew and, to me, this is the most important fact about my writing.
We wanted a musical number that would capture the exhilaration of being out on a boat as they were and sailing with the stars and all that. So that's the origin of We Know the Way. From very early on we said, for an audience that doesn't know this, what we need a song that can really have the kind of sweep and the, you know, pull you in. So that was early on, we conceived of like that should be a musical moment [in Maona].
Subconsciously you just pick up things into your sort of musical vocabulary and use them.
I've always loved that film ['The Three Caballeros'], and we were looking for a way to apply it to our own work, and 'Trolls' was it - psychedelic, musical and kinetic insanity.
I was just in a few episodes the first season [ of Empire]. They didn't kill me, but I haven't been back in season two or three. I don't know if they have plans for me or not. But I enjoyed working on it. And I think it's a really talented group of actors and, boy, very enterprising to try and shoot those every week, you know, with musical numbers and all that stuff.
There's so many different styles and facets of the 360-degree musical sphere to listen to. From tribal to classical music, it's all there. If the bottom was to sag out of that, for God's sake, help us all.
Any time you have a song that is directly connected to a very specific musical trend of the moment, you have immediately cut it off at the knees, doesn't matter if it goes to number one in the world, if you're too attached to a production style.
I got the job [in Moana], and the next day I was on a plane to New Zealand, where the rest of the team was already doing research, and meeting with different choirs, and sort of really soaking up the music, the musical world of, the musical heritage of this part of the world.
The biggest secret weapon we had in regards to really being true to this part of the world, and making sure this part of the world could see themselves in this film [Moana] in a way that felt positive and accurate, was Opetaia, my co-writer, Opetaia Foa'i, who has a great band called Te Vaka and is an amazing musical and cultural ambassador.
I want as many people to see the show [Hamilton] in its musical theater form as possible before it's translated, and whether it's a good act of translation or a bad act of translation, it's a leap, and very few stage shows manage the leap successfully.
I still look at that water, and I look at Moana's hair, and I'm just like, "How is this even happening?" It's such an incredible mix of technical mastery and wizardry. It's really incredible. It's layers and layers and layers. It's not unlike building a musical. It's really pretty cool.
We forget to thank the scientists that began these musical inventions and systems. The guy that invented the phonograph and gramophone - Thomas Edison!
Essentially a joke is creating an idea, whether sonic or visual, whether it's something musical or a traditional joke.
The script is the musical score, and everyone has to play off that score. Even I have to interpret it. The producers are there to eliminate obstacles to that interpretation.
I wanted to create an album that spoke all the musical languages I loved.
We got to be really good friends [Jack Lemmon and Walter Matthau]. It was just thrilling, every day. Every single day. I had a big couple of musical numbers in [Out to Sea], and I remember doing one of them and shooting it from beginning to end.
Of course, when you see [ musical numbers] in the movie [Out To Sea ], it's cut into a lot with other scenes, but we shot the number straight through, so here I am doing it, and sitting right in front of me in the audience was Donald O'Connor. And I was, like, "Oh, my God, I can't believe I'm performing a musical number in front of Donald O'Connor," who's one of the greats of the silver screen. But it was a thrilling experience, it really was.
In reality everybody has got musical thoughts. If you are able to overcome the part of it which is muscle training, which is what most musical playing actually is, performance actually is, is muscle training, and you are able to convert your ideas directly into music, you're a musician, too.
You have to be ready, and also you have to discard notions that are fondly held by a lot of musicians, about sequences and notes and about scales and musical systems as a whole. If you think of music as a language, the space part is where you throw out all the syntax.
There are performances in which the people who have the best muscle skills and musical history may be on the stage, but it's not - like a Dead show is not like a usual sit-down performance; the audience does participate.
It's hard enough to get things to work in a musical way.
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