A Quote by Maria Brink
We didn't want it to end up in discussions where we would talk about whether this song needed to be more metal, whether I needed to scream more in that song or whether I shouldn't sing quite as much in those songs because metalheads wouldn't like that.
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Whether it's animated, whether it's live-action, whether it's Broadway, whether it's television, a musical is a musical is a musical. So, pretty much you approach the songs in pretty much the same way. The difference might be that in a film you have a close up. On stage you don't. So there are more songs on the stage because the songs are kind of the close up.
Whether it's an inspiring song or whether it's an entertaining song - whatever it might be about it - I just want people to feel the emotion that I put into it because I think emotion... is everything.
I needed to be sexier. I needed to be more hip. I needed to be more edgy and this and that. 'No, don't write that kind of song, write this type of song. No, don't work with that producer, work with this producer. No, don't wear those clothes, wear these clothes.' And I didn't want to be a puppet, you know?
Whether you talk about the olive oil, whether you talk about Aceto Balsamico, whether you talk about Grana Padano, whether you talk about Mozzarella di Bufala. These are all traditional Italian products that are hard to beat, and they're easy to transport and buy. You don't have to do much around it. Just eat them.
Whether you want more money, whether you want more fame, whether you want more attention, whether you want a bigger house, whether you want a bigger contract, whatever it is you want, you have to win your next fight. That's it.
An audience will let you know if a song communicates. If you see them kind of falling asleep during the song, or if they clap at the end of a song, then they're telling you something about the song. But you can have a good song that doesn't communicate. Perhaps that isn't a song that you can sing to people; perhaps that's a song that you sing to yourself. And some songs are maybe for a small audience, and some songs are for a wide audience. But the audience will let you know pretty quickly.
All you gotta do is think of the song in your head. And it doesn't matter whether you can play it or not, you can get somebody to play it. With songs I've written, there's a song called "The Statue", which I can't play. There are songs that I've written that I've actually just hummed on - there's a song on one of the albums they have there on the Internet called "My Love Was True" and it's almost operatic. I can't play it. But I can sing it.
One of the silliest of all discussions is the question whether God is personal-it would be more useful to inquire whether ice is frozen.
I think that, when you're writing your songs, there's always a debate about whether, is that you in the song? Is it not you in the song?
I don't think about, "How does this song that has more of an electronic mix prefix to a song that has a full orchestra next to a song that has other things?" I just work on it as-needed.
A song like 'Heartbreaker,' it's a song about learning - it's not necessarily a song about heartbreak. It's more than that. We write those songs to relive how we got over something.
When I go onstage, I'm going to work ...I feel like my performance is about an emotional connection. I want to connect with people, whether it's like a romantic song or a happy song.
In every song I write, whether it's a love song or a political song or a song about family, the one thing that I find is feeling lost and trying to find your way.
I always believe that every song tells a story, so the last thing I want to do is edit out like the meat of the story. I would pick songs based off a), whether I felt like I could do anything with them, and b) whether I felt like I could keep the story intact. And then you sit in with one of the piano players and one of the vocal coaches and kind of work out your arrangements that way.
I'm not the kind of writer that can wake up and say, "Okay, I'm gonna write a song today," and have that song be the kind I would want to record. The songs of mine that I end up liking are songs that come from real experience. They're like chapter titles in my life.
The question of whether a device will come into being depends upon three things: first, whether there is a practical use for it that warrants its development and manufacturing costs; second, whether the laws of physics applying to the elements available for its design allow the attainment of the needed ranges, sensitivities, or the like; and third, whether the pertinent art of manufacture has advanced sufficiently to allow a useful embodiment to be built successfully.
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