The music I really like to get off on is the old rhythm 'n' blues and rock 'n' roll stuff... that's what I really dig. And I also dig to sing ballads as well. And I also dig writing my own songs. I was just trying to find a way of integrating the whole thing, taking a look at the total picture.
Usually, the way I write is to sit down at a typewriter after that year or so of what passes for thinking, and I write a first draft quite rapidly. Read it over. Make a few pencil corrections, where I think I've got the rhythms wrong in the speeches, for example, and then retype the whole thing. And in the retyping I discover that maybe one or two more speeches will come in. One or two more things will happen, but not much.
Who will mourn the passing of our magnificent kangaroos? Who will remember how the bush once danced in rhythm with the thumping, jumping kangaroos who flew over fences their great tails drumming on the earth? Who will remember the big red male kangaroo lying in the desert sun, his coat almost indistinguishable from the red earth from which he came?
The rhythm of daily action aligned with your goals creates the momentum that separates dreamers from super-achievers .
I did ask Larry David, "How did I get so lucky? How am I here Seinfeld?" He just said, 'Well, when you say your name over and over it just has a really strong rhythm: "Marisa Tomei. Marisa Tomei."
It's hard to transfer one person's type of comic timing or approach to another person's. It's something you innately hear like a rhythm in your ear.
When I started off in Wales, I sang and accompanied myself with guitar in the '50s. And then I got a band together, which is a rhythm section, really. I used to do a lot of blues, and rhythm and blues, and '50s rock 'n' roll and country, and all kinds of stuff.
I have much clearer memories of my time in Egypt: songs on the radio, the rhythms that accompanied belly dancers, the sound of the adhan - the Muslim call to prayer. I just soaked it all up.
On a very technical level, I am a geek who is interested in the intricacy of rhythm playing, so I like comparing and working out its details.
I think probably underneath it all, film [Kino] has its own rhythm and its own dynamic, and we were trying to capture the movement of film and cross-reference it with music.
I think in everything we did, there's a sense of tension and a sense of things pulling in a different way. It's interesting calling it "beat music". That's quite true, the rhythm is up to the fore, it's got a slap bass, and it's got "funk" in the title. But I think there's always a level of irony when we did those kind of things.
I have some rhythms on my computers, that are actually called "trance", they go from 1-30 or 40. They're grooves that come on the synth. If I could somehow use them, I would.
It's pretty tough on your loved ones to try to get back into a rhythm, especially when all you want to do is do nothing.
Let's say [Warren Beatty] wants you to speak louder in a scene. He won't stop playing the role and say to you as a director, "Will you speak louder on the next take?" He'll say it as Howard Hughes: "I can't totally hear you. Why don't you speak up a little bit?" To kind of keep this rhythm going.
I didn't know how to check other people's feeds. When I started Instagram, it was just me posting! But then at some point, like eight months ago, I realized I could see what other people were sharing. It was so exciting and so fun, but it was like I'd already gotten into the rhythm of sharing and not worrying about what it was like compared to other accounts. I think that was kind of protective, in a way.
Max [Landis] writes in quite a heightened way, specifically for Dirk. There's a rhythm and a specific speed to it, and it was very easy to learn because it was so well-written. It just rolled off the tongue. There aren't many auditions that I go for, where I feel like I could actually do the part. But with this one, even though I was not quite sure how to pin Dirk down, I thought I could do it.
It's strange, 'cause a play, you start at the beginning and you go all the way through to the end. So it's naturally very well rehearsed and you get a rhythm and a flow. In film, you can shoot the ending before the beginning. It's very odd. And it's like a craft you have to learn.
There's always an added element of a poem when it's read aloud because then you can really hear the rhythm, and the cadence, and even the pronunciation sometimes adds another layer to the poem.
We sort of quickly realized every rhythm, Opetaia [Foa'i] takes the lead.
In a way, a lot of my work is in the re-writing once it is cast, as I adapt to the rhythms of how the roles are played out by the actors.
For "Running Up That Hill" we had worked with a drum machine [in 1985]; the basic rhythms of "Running Up That Hill" happened because the whole track was built on a drum machine.
The fact is that, unless you are very good, most first movies are too long, and you lose your rhythm and your audience over two or three hours.
I wanted to remember the original energy; strip away all the glamour and limousines and tons of drugs. I wanted to get back to the revolutionary ideas, merging poetry and rhythm and rock and roll.
The film [Dream of Life] is the way it is because it was the rhythm of my life, and also because the director and the editor are both gifted and both fine human beings.
People have to find their rhythm. Some people have need for more contact and time together and some people need more space.
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