There is a remarkable nimbleness of style, a balancing act of tone, in Voltaire, which is hard to bring off on stage. When you speak the words out loud, the effect is very different from when you read them. So one needs to do something new with a stage performance, not simply 'tell the story'.
You have to know the story that you're telling, and you have to know the tone in which the story is being told.
What we were also trying to do is vary the tone slightly across the season of Black Mirror, because there are six stories this time around, so you don't want it to just be the devastating, bleak-em-up.
The volcano itself wasn't that interesting, but the man who refused to be evacuated - the only one of 75,000 people - was what set the tone for the film ["Encounters at the End of the World"] that we made together [with Clive Oppenheimer] ten years later.
I'm a trained actor and I can always tone it down, I can always simplify the work I've done. But if I'm asked to bring the nuanced and complicated work, I'll have it in my pocket, and all that information helps.
But rather than trying to understand and rise above them, as leaders should, the [presedential] campaigns have often simply channeled these negative emotions. This has made the substance and tone of much of the discussion not only unpleasant and uninspiring, but the acrimony and divisiveness are not healthy for our democracy.
I think by not participating in the current political debate, hopefully I'm sending a signal that will help set a tone.
[Michael Flynn is not] the kind of person who is going to be more buttoned-up kind of military figure and that partisan tone.
Bob Wallace was my editor at Rolling Stone when I first started writing there, and he's a wonderful editor. I was in the Philippines during the Marcos overthrow, and I was up on what was called Smokey Mountain. I think it's gone now, but it was a garbage dump with a bunch of people living on it. I was talking to Bob on the phone, and I told him, "I'm a humorist. I can't write about this." And Bob told me to let my style be dictated by the subject, to take what I saw and write about it in the tone that it requires.
I'll just say that I made my own explorations of tone by listening to a tone for a long time until I began to understand what my sensations were, what my mind was doing with tone.
It was around the end of the '60s, when I began to compose sonic meditations. Before that I was doing a lot of reflecting on myself, and listening to long tones.
I would play a long tone on my accordion, or I'd sing one, and I would note how it felt - what it did with my mental space. These were meditations that I did.
I became interested in the delay, having sounds recorded and played back and then come back. I did many different configurations of sending signals from one track back to another track, or to the same track, or crisscrossing them and so forth. I worked on masking the delays so when I played into the machine, I would make long tones and collect sounds in such a way that you didn't hear the delay, although sometimes you did.
There is a magic thing called 'tone' in a film, that the director must master and maintain.
Certainly in the second film [Maigret's Dead Man], which is quite a more unpleasant and darker story, it's quite different in tone and feel.
At the same time, you had Barack Obama as a president. You had Hillary Clinton on track, all the Democrats looking good. And, you know, Donald Trump was just an entertaining buffoon to watch. And, over time, you came to realize that Donald Trump was appealing to a lot of people with his populist message. And, slowly, I think, even as a show, we started shifting in tone as the election started shifting.
You may not be able to hit all the notes. That's OK. You may not have the clearest tone. You may not have the greatest range. But if you can inhabit your song, you can communicate.
How Donald Trump reaches out to groups that may not have supported him, how he signals his interest in their issues or concerns, I think those are the kinds of things that can set a tone that will help move things forward once he has actually taken office.
Being attentive to inequality and not tone deaf to it. But offering prescriptions that are actually going to help folks in communities that feel forgotten. That's going to be our most important strategy. And I think we can successfully do that.
When you're at the basketball court watching a game, one person may be talking about a fight he had with his wife, another is talking about the last hard-on he got, someone else is talking about the presidential election. The language and the tone and the voice - I'd love to be able to capture that spontaneity.
I've said I want the meanest, toughest SOB I can find to protect America. And so that's why Trump's tone doesn't bother me.
Jeff Sessions, the person who`s likely to become our next attorney general, is striking a very different tone from our current attorney general, Loretta Lynch, who announced a consent decree with the city of Baltimore.
We are entering a world where there won't be one but two realities, just like we have two eyes or hear bass and treble tones, just like we now have stereoscopy and stereophony: there will be two realities: the actual, and the virtual. Thus there is no simulation, but substitution. Reality has become symmetrical. The splitting of reality in two parts is a considerable event which goes far beyond simulation.
Wit and humor seem to always factor into this - there's a tongue-in-cheek tone you get when you take on a formalist story - because there's an inherent voice you're trying to copy (and often to satirize).
I think what we want to do is - when we choreograph, when we design choreography, we try to take it from a character standpoint first. Obviously you write a script and it's like, a Jason Bourne or a John Wick or something like that, you don't start choreographing double twisting wire moves and backflips, or doing the splits. You try to keep it so it fits the character, or the tone of the film.
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