An artist makes something to be physically experienced by another person. It's a raw, freely chosen, interpersonal relationship between the maker and the viewer, so it's close to what a musical composer does, or a poet or a dancer. It is coming out of one's inner being.
My parents were not musical, but my mom just really wanted my brother and I to learn music as well as practice sports. It's a balance for which I'm thankful. I'm not sure I'm more balanced than anyone, but I'm happier because I can make music and I'm really thankful for that.
English has always been my musical language. When I started writing songs when I was 13 or 14, I started writing in English because it's the language in between. I speak Finnish, I speak French, so I'll write songs in English because that's the music I listen to. I learned so much poetry and the poetic way of expressing myself is in English.
I've been playing music all my life. I wasn't really fostered in a musical family, it was something I did despite the kind of limitations put on me. It was a series of misshapes and failures and things that didn't work out and other opportunities that kind of presented themselves. I just followed a journey.
You have to be open-minded, because it's so diverse nowadays. I used to be a deep trance DJ, and now I've transformed into something eclectic. So you can expect any kind of music, from house to electro to indie-rock to techno and trance. I have very wide musical tastes nowadays.
I understand that in people's eyes, classical music is kind of a lost and dying art, but in my eyes, it's like, "Oh, the musical language, which has been, in the past, only available to a scarce few at the top of the tower, is now wide open." Now people's ears are becoming more amenable to fake strings - I think this is great!
If you're doing a musical, you should be out to give the audience something special, emotional, an uplifting feeling, something that stays with them.
I'm not an advocate of true rhymes, I don't think. I think that everyone who writes musical theater needs to know how to do true rhymes, because that's the tradition of it, but I do think that in order for the art form to grow, it's important to not let tradition get in the way of innovation. There's all kinds of reasons not to use true rhyme in a lyric, like with off-color humor.
I think if you think of our lives as musicians, it's craftsmanship. We're not artists, we're more artisans. You know, I don't think we view ourselves as musical geniuses who can just make some sort of wonderfully beautiful record out of nothing. It's something that we work at. And if we keep working, hopefully we'll keep improving.
In terms of music, each novel is different but I usually find my way into an era through the music. In this novel the New People, I listened to a lot of 90s hip-hop, which was just so genius. Also, all the musical references in the book from the Peoples Temple one and only album to Luther Vandross.
The musical mystery is: How do you marry tuned percussion and voice? On a metaphorical level, everything that's really important - like the clouds, the sky and the earth - is a giant mystery.
Any film that you make, it's a very high end game of musical chairs ... but that's just the nature of filmmaking. You do the dance with a certain actor.
My mother was a champion Irish dancer and singer and most of my family were musical, particularly in Irish dancing. Music is all about spewing out your emotions. A mixture of a good tune and a good beat and everyone playing their guts out and something that grabs people's attention.
People are funny in like young adulthood, just like how people's musical tastes are cool, but it changes very rapidly. In five or ten years, I'll probably still be confident about what's funny but it probably won't be funny anymore.
The biggest thing about me, as an actor, is I'm never a finished product, you know? I always want to try something or be in a new genre because, one, it's much more fun to do that because you're not doing the same thing over and over. One of the greatest reasons is that it keeps stretching you as an actor. So, hopefully, my method is that it makes me a better actor, and a more believable actor, so then, the more experience I have in any way possible, in a drama or a musical genre, different formats of working, the better I can be on all different platforms.
I am saying what comes out, because I'm really not a methodical writer. I'm not a good building writer, where you are like "well, I going to make a song today, and I think it will be a pop song." Some people are great at it and it's beautiful. If I am feeling musical and I pick up the guitar, usually something will eventually come out and I'll see where it goes.
I never wanted to get a job of musician. That was kind of my thing. I came from somewhat of a musical family. I had an uncle on Broadway. My dad kind of knows how to play instruments. Although, I always find it annoying when he does play an instrument.
Basically, my musical life is split between raving with drugged-up kids and reading obscure 75-year-old poetry, drinking very nice red wine with aged, graying men.
I love musical festivals Pukkelpop, Lowlands, and Glastonbury. But Roskilde is great - it's one of the things Danes try to be proud of. Actually, I usually try to set up a clothing pop-up shop at the festival every year.
I don't want to be lofty, but it was groundbreaking, in many ways, for musical theater, so that was really thrilling to be part of The Book of Mormon . And Girls felt very much the same way - there was an excitement about it as we were doing it; I knew it was something special.
I think I can pinpoint the moment when my first band recorded, when I was 14 and 15 years old. I always enjoyed writing songs and playing, but there was something about going in and capturing it that felt very Zen and perfect for me. A light switch went on and I just realized that's where my musical capacity was the most suited. I just followed on blind faith that that was like a calling for me.
The more people who come from musical backgrounds and go into promotion, production, songwriting, A&R, plus get their business head together, the better. They'll not only understand the business aspect, they'll also have a true passion and ear for how quality is represented musically. Plus consumers will always have a hunger for R&B music.
I think the compositional side of my productions have progressed and matured a lot more, and creating melodies is actually what I have always enjoyed the most, so my productions will always contain that strong musical element.
I love expanding people's musical horizons, because daytime radio can be so generic and people get sucked into listening to the same crap all the time. Sometimes it just takes one simple little thing to actually inspire people to branch out a little more.
The bar for being shocking doesn't even exist anymore. What am I going to do to shock people? Seriously, try to get The Fisting Musical off the ground? Its really at this point, there is no bar.
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