Musical Quotes - Page 46

I would love to sing. I would love to do a musical, but I wouldn't say that that singing is my strong suit.

I think a lot of actors, especially actors with a theater background, have a musical ear. A lot of actors just want to be musicians anyway, and a lot of musicians want to be actors.

I don't really inject the rock 'n' roll thing, what I take from rock 'n' roll is probably the melodies and the musical behind it.

I have been singing as long as I can remember. I used to be in choir; I used to do musical theater. I'd prefer not to sing my own songs, but there you have it.

I have musical ADD, so I like to switch things up.

Hopefully each film can be given a musical voice of its own, which is not to say that the instrumentation is always unique, but that the relationship between the sound and the image is unique.

Well I had a musical background, but I still didn't know a lot about drums at the time.

We went to see all the shows. American musical theater and jazz were very big.

"I love you," he said, his voice almost musical with happiness. She shot him a scowl. "Isn't saying that a bit dangerous considering these aren't wooden swords and the ends aren't even taped?" He laughed.

Any performer would love to have the opportunity to be able to express themselves in many different areas. If you feel confident in those areas, you would hope to have the opportunity to do them, whether it's drama, comedy, musical, or whatever your interests are.

It's funny... musical theater is what paid my rent and kept me going for the longest time.

Roy Orbison is singing for the lonely, hey, that's me and I want you only.

I was in my late 20s, in the process of shaping my musical outlook and what I wanted it to be about, when I first encountered Woody Guthrie.

I just always wanted to be an actor. I don't remember ever not wanting to be an actor. I did a lot of musical theater when I was younger, and I really hope to get back there someday.

There is a sort of convergence starting to happen between the computer and musical instruments, but it's still quite a long way off.

I don't want to do free jazz! Because free jazz - which is the musical equivalent of free marketeering - isn't actually free at all. It's just constrained by what your muscles can do.

In fact, quite a lot of what I do has to do with sound texture, and, you can't notate that. You can't notate the sound of "St. Elmo's Fire." There's no way of writing that down. That's because musical notation arose at a time when sound textures were limited. If you said violins and woodwind that defined the sound texture; if I say synthesizer and guitar it means nothing - you're talking about 28,000 variables.

Another way of working is setting deliberate constraints that aren't musical ones - like saying, "Well, this piece is going to be three minutes and nineteen seconds long and it's going to have changes here, here and here, and there's going to be a convolution of events here, and there's going to be a very fast rhythm here with a very slow moving part over the top of it." Those are the sort of visual ideas that I can draw out on graph paper. I've done a lot of film music this way.

Everyone was so anti-wanting to be anything else. I guess a lot of bands say that but I think, for us, that notion - combined with our musical influences - ended up making us uncategorizable.

I have ideas for songs all the time, but musical ideas, like melodies, really come out when I'm in nature.

Now it looks like I'll be known as the musical comedy guy. Which is good news for me. Or I'll be known as the New Zealand idiot.

I feel that as a writer and as a performer too. I never really thought about backstory for characters. It was much more of a musical approach: You learn a melody, and then you sing it, I suppose, or you find a rhythm or a cadence that works for the material. And then it's sort of about hitting that note correctly and finding those beats.

I don't think it will ever be lessened. Because I always move on to something else - and the music that I listen to, that I ingest, is a lot different than what I put out. I'm always becoming obsessed with the next phase of my musical vocabulary.

I really just followed my musical instincts every step of my life.

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.