A Quote by Max Martin
If you've got a verse with a lot of rhythm, you want to pair it with something that doesn't.
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Music is rhythm, and all theater is rhythm. It's about tempo and change and pulse, whether you're doing a verse play by Shakespeare or a musical.
You've got the same rhythm every day just to keep you going. So once that rhythm is broken, it's kind of hard to get back with it when you got a lot of things going on.
One of my main problems with music is that the basic formula is always the same: verse, chorus, verse, chorus, bridge, verse, chorus, chorus, chorus, end. One of the bands that changed that was The Beatles. If you listen to 'Everybody's Got Something to Hide Except Me and My Monkey.' It's three verses, bridge, end.
I don't go cheap on anything, but I'm not a shopper. If I want something, I look at it, decide what it is, but it will usually be the best product. I've got a pair of loafers that I still wear that I got in 1957.
Pace, rhythm and timing. Pace, rhythm and timing is what it's about. The content's got to be great, but then it's got to be delivered. It's a tricky thing to do, and it takes a lot of work.
I got a pair of roller skates for Christmas when I was 4 or 5 or something, so I had a pair as kid. But I also lived on a gravel road so I wasn't really skating up and down the street.
I write a lot of children's verse and I think it delights in the language. It pleases people. It's very musical. It's very lyrical and that's certainly a very important aspect of poetry. But I think that a lot of it is verse. I write well-wrought verse.
Writing is so much about rhythm. If you've got another rhythm in the room, it spoils the rhythm of the words.
The first two books that I did by myself were long stories in verse. I knew I could do that because I'd written a lot in verse. But, verse stories are hard to sell, so my editor encouraged me to try writing in prose.
I developed my style by pickin' a lot of cotton, plowin' that ole mule every day. I just got the rhythm, and any rhythm I need I know where it is; I know where to find it.
I keep mementos from everything I've done. I've got my cab driver's license from 'Happiness.' I've got a pair of glasses and a belt buckle from playing John Lennon. I've got a pair of sunglasses from playing Andy Warhol... It's all in a box in the garage.
Whether I'm performing or directing, I'm aways thinking about rhythm; sometimes it's nailing the right rhythm, and sometimes it's intentionally breaking the rhythm. Those two things are what make something funny or not. How long a shot is and where you put the camera are all part of that rhythm of directing.
I own A LOT of shoes; I am not sure how many. My three favorite pairs would have to be a black pair of Christian Louboutins; they were the first pair I ever bought and still wear them! A pair of cream YSL pumps that are great for spring/summer and a pair of YSL wedges that I wear with everything.
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 always look for a "rhythm" in my writing. A cadence to the sentences. Sometimes I think of pieces I write in a song writing infrastructure - i.e., a verse, a chorus that I return to, a bridge that's something differenct, a chorus that I return to.
You relax within the verse. You realize the structure of the verse and relax into it. It's like swimming. Or riding a bike. You can't make it sound real if you are thinking it through as you go. You can't think through Shakespeare, you have to speak it. And listen to the rhythm of it and then it takes you over. And to make it sound real you speak as if you believe it. Don't act it. Just be it.
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