The public doesn't get to see everything. I worked with X a couple times since then. Me and X have a close relationship. We actually did a record they were going to put on the Training Day soundtrack but he ending up buying the record from me and putting it on Great Depression as a bonus track.
Come here and take off your clothes and with them every single worry you have ever carried. My fingertips on your back will be the last thing you will feel before sleeping and the sound of my smile will be the alarm clock to you morning ears. Come here and take off your clothes and with them the weight of every yesterday that snuck atop your shoulders and declared them home. My whispers will be the soundtrack to your secret dreams and my hand the anchor to the life you will open your eyes to. Come here and take off your clothes.
I was really influenced by a lot of Disney soundtracks, because that's what I used to watch all the time, and they always put music in it, which is why I tend to have popular melodies over harder beats.
Of course the Disney movies, you know all the soundtracks, and anything Gene Kelly and Fred Astaire were doing - Singing in the Rain was one of my favorite musicals I used to watch a lot because my mom came from a theatre background.
I feel like I make a soundtrack for the come up, and I feel like there's so many people that's trying to figure out how to chase their dreams, or that are in the process of chasing their dreams, so they connect with that. And then being a singer, you don't really get to touch on nothing either.
The spirit of America is all about defiance, and the best music like mine is the freedom soundtrack.
I do select a soundtrack for each of my subjects and again my assistants you know they make fun of me because that is more important to me than the lighting, which I just do in a minute right before, but I spend a long time on the soundtracks.
Culture and politics were inseparable [in the Sixties], which gave a soundtrack to political awareness and activism.
There are things that make me excited about what I'm doing: Trouble the Water [the 2008 documentary Glover executive produced] on New Orleans, or something like Soundtrack for a Revolution, about the power of the music of the civil rights movement [which he executive produced in 2009]. Or Bamako, about the African debt crisis, a platform to discuss the experience of people who actually live it. All of these are important ways we can use film as a forum inviting people into a dialogue.
Licensing can be great. You get money for work that's already done. It's not a horrible thing to me, there's just some things I don't want to soundtrack.
I'd love to sign a contract for the soundtracks to every Wes Anderson movie, you know what I'm saying? Things like that, I have no spots on my conscience about.
This is just too awful. Such an amazing talent [like George Michael] gone too soon. Wham was part of the soundtrack to my teenage years.
We sing a lot of the soundtrack in this film [Swiss Army Man] - me and Paul Dano - and on the last day of filming we had to just get into the back of our sound mixer's van and record a really crappy, rough version of the singing then. For some reason that was one of the most fun days.
You can't show somebody what it's like to experience loss, but you can soundtrack it and help them experience their own loss. I am so lucky to have this venue to be able to say and talk about all the stuff I've been through.
Most of the bands that I really hold in my heart - you don't think about them as bands; they're just the soundtrack of your life.
People tend to forget that we tie our life history to music like the soundtrack to your life in many more ways than just having a hit record on the radio.
I never use soundtrack; it is always part of the story.
Music from my iPod was setting my life to a dramatic soundtrack that only I could hear.
I always wanted to be a film composer. So very early on I started collecting soundtracks and paying attention to how movie music works. Actually I'd like to have the opportunity to conduct for the rest of my life.
My life growing up was a twisted Bronx version of The Color Purple. It had a much different soundtrack and no trees, but that desperation was the same.
For me, Woody Allen's 'Manhattan' defines New York. Both New York and Manhattan Island should be in black in white! I always hear the soundtrack of Gershwin in my head every time I go over the Queensboro Bridge, or come in from JFK because of it!
The way that I write songs is pretty simple. I hear music first, much like you would when you're scoring a film. I usually hear a soundtrack in my head, and after I get that soundtrack, it tells me what it's about, what it feels like, what the emotion is, and the words come after.
Musicians used to be way more instrumental just in providing a soundtrack to what's going on in the world. And it's also important to state what we think. There's like this fear for their career, if they have anything intelligent to say about politics. And that's really messed up.
Basically, there were three aspects of dub that influenced dubstep. The most important was playing the instrumental versions of vocal garage tracks, which was a little like what dub was to reggae - the instrumental of a full vocal.The second was dub as a methodology, which, for me, is apparent in all dance music: manipulating sound to create impossible sonic spaces using reverb, echo and such. The third is the influence of the genre called dub. (It became a cliché actually, through sampling old Jamaican films and soundtracks, and adding vocal samples.)
In some ways the nudity really makes people feel more uncomfortable because it's not nudity that is just making bodies look like sexy little pieces of body parts stuck together. It's much more blunt and real and there is not a sexy soundtrack behind it all.
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