The Woodshed Orchestra trade in exuberance and might, a glistening thunderslap on the hind of musical atrophy. These songs leap from disc to lap, a many-legged beast trundling with joy and vision.
I, uh...I have a television, so I'm going to spend some time here to tell you some things. [To orchestra conductor:] And, and...and sir, you're doing a great job, but you're so quick with that stick, so why don't you sit. 'Cause I may never be here again.'
The apex of perfection in equestrian art is not an exhibition of a great deal of different airs and movements by the same horse, but rather the conservation of the horse's enjoyment, suppleness and finesse during the performance, which calls for comparison with the finest ballet, or performance of an orchestra, or seeing a play by Racine, so moving is the sight of perfectly unisoned movements.
It's all very well to have principles, but when it comes to money you have to be flexible.
Orchestras have become used to the emphasis on the separation of layers, of the ultimate precision and clarity.
Aromatherapy without massage is like an orchestra without a conductor
And at the same time, I had my very first concert at the age of 16. I hadn't heard a symphony orchestra before, and I was so deeply impressed I said I have to be a conductor.
When facing symphonic orchestras which have played some works five thousands times, you have nothing to do.
Audiences, whether they're seeing a film or a reading or whatever it is, a concert, they decide very quickly what kind of show it is, and then they judge it. They judge the rest of the thing by whether it conforms to their rules for what a good symphony orchestra would be.
Its just that, when the orchestra look at me, I want them to see a completely involved person who reflects what we rehearsed, and whose function is to make it possible for them to do it.
Comedy is more difficult than drama. I think it's really difficult to make someone laugh because people have very different comedic sensibilities. In drama, you can get away with being a great actor and surrounded by great actors and having good writing. But in comedy you have to listen and you have to perform with a certain rhythm, because if you don't, it's like playing a wrong note in the orchestra and you can hear the off key and it will fall flat and you won't get that instant response.
Rod's a great singer. He's got a great voice, but there's no point to put a 30-piece orchestra behind him. I'm not going to knock anybody's right to make a living but you can always tell if somebody's heart and soul is into something, and I didn't think Rod was into it in that way.
I had a big background in listening to classical music and I started trying to compose, like I was playing the guitar but I heard an orchestra in my head.
Actors want to work with you but they want you to do their thing. Actors, whom I love with a blind partiality, sometimes they want to be soloists in the symphony, not a part of the orchestra.
I grew up listening to my grandfather's stories of our musical past. He would often talk about the orchestras that played at concerts and the musicians who played on Sunday evenings on street corners. By the time I grew up in the '80s, all of this was a thing of the past. I lived vicariously through his stories and often wondered what it would have felt like to have been part of his generation.
I feel like people used to leave their homes and go to their local theatre, and they used to watch ballet dancers and musical theatre performers and tap dancers and orchestras and dog acts. You had to leave your home, be in the presence of other people, know how to behave, and enjoy the human being whose beating heart was in front of you.
I have ambitions to do a Broadway record one of these days and get in the studio with like, a real orchestra. I'm a big musical theatre geek.
The singers all loathe the sight of one another, the chorus despises the singers, they both hate the orchestra, and everyone fears the conductor; the staff on one prompt side won't talk to the staff on the opposite prompt side, the dancers are all crazed from hunger in any case.
The easiest thing I do is assignment songs. They tell me what they need me to write. I can do that fairly quickly. Writing for an orchestra is difficult. Writing songs [on your own] is most difficult of all. Though [writing for] the orchestra is close.
On a good day, I view the job [of president] as directing an orchestra. On the dark days, it is more like that of a clutch -- engaging the engine to effect forward motion, while taking greater friction.
My father will go see Trans-Siberian Orchestra every single year. I mean, he's completely into it.
I hope always to be busy, even if only directing an orchestra in the pit. However, I should prefer to produce movies or be the directing head of a radio corporation.
The great myth is the manager as orchestra conductor. It's this idea of standing on a pedestal and you wave your baton and accounting comes in, and you wave it somewhere else and marketing chimes in with accounting, and they all sound very glorious. But management is more like orchestra conducting during rehearsals, when everything is going wrong.
I don't want somebody who writes like me [in my writing staff]. Because I can write like me. I know what I'm capable of and what my limitations are. If you're going to build an orchestra, you don't want all tubas - you want a violin and you want a cello and you want a drum set.
I heard Joby Talbot's Hovercraft piece for orchestra and felt its immediate physical impact - visceral, unsettling, hungry and direct. These short five minutes became our keystone to unlocking a strangely seductive score that tensions the aggressive force of the White Stripes with the enigmatic beauty of Talbot's own compositions.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: