A Quote by Alan Tudyk
When we recorded [Moana], I would do all of the stuff and then save all the big screaming for last so that you can really blow it out and ratchet it up every time, get that perfect panicked pitch.
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Every game, we're going to go for it, so when we get into playoff time, it's not like, 'You've really got to ratchet it up. You've really got to do something different.' Then what have I been doing the whole time?
'Ratchet' has a lot of meanings. You can be a bad ratchet or a good ratchet. You can have fun, be ghetto, and get ratchet.
Several of us linguists at that time would record our own kids, just to get some data. There was some literature on it then, but no day-by-day, blow-by-blow examples. I recorded all my children over the years in some shape or form. It's what linguists do. You don't talk to a linguist without having what you say taken down and used in evidence against you at some point in time.
On the first one, X-Men: First Class, it would be James McAvoy, Nicholas Hoult and I. I'd basically inhale, there would be a red flashing light, and then the stuff at the end of the hallway would just blow up. It really felt like I could do those things, but, sadly, I can't. It was a lot of fun; I got to play a superhero that I was familiar with since I was a kid. It doesn't really get much better than that.
When we came out, they just labelled us 'ratchet music' cos we said 'ratchet' a lot. Ratchet means that's it's ghetto, but I would just call the music we're making just good music.
The Songwriters Hall of fame, that's the one all the big-time writers get into, the really great stuff, the Broadway stuff and all that. That would be something, to get your name in there.
It's an honour every time I get the chance to go out on to the pitch, whether it be starting or as a sub, so I'm just happy to get on the pitch whenever I can.
It's like when we get the transformer movies. It was all a bunch of smaller robot pieces and then you're on set, and you're watching them blow everything up and you see the movie and you say "wow there's a big giant spaceship crashes there and it turns into a transformer." It's stuff that you don't really see, because our involvement is so heavy.
My parents would drive us to Florida every spring in this big old, rusy Suburban, and we'd collect stuff on the beach for our aquarium back in Ohio; we had this big saltwater aquarium back in Ohio. Every time we found anything, any mollusk, my mom would bring out the guidebook and quiz us on what it was, so that stuff was built in early.
If it was up to us every single day, then we would all have a perfect life, but stuff happens, but it's an imperfect world.
When you're doing an animated series, you tend to pitch storyboards. You write a script and then you draw a comic version of that script and put it up on big boards, and then you pitch it to a big room of executives and writers.
My son is in a band, and he’s a singer, and his vocals … they’re screaming-growling stuff … and he’s got a pretty reasonable voice. Yet he practices really hard to get the screaming-growling thing without losing that voice every five minutes. So I’m, like, “Hats off to you.”
My son is in a band, and he's a singer, and his vocals... they're screaming-growling stuff... and he's got a pretty reasonable voice. Yet he practices really hard to get the screaming-growling thing without losing that voice every five minutes. So I'm, like, 'Hats off to you.'
By and large, the making of motion pictures is all about, 'Let's ratchet it up.' And I always think, 'We don't need to ratchet this up.' If you do, don't call it 'Captain Phillips' or 'The Maersk Alabama.' Call it something else, and then you have carte blanche to do anything, down to sea serpents and aliens.
Well all the big companies are really panicked by the internet thing and all that, and sales went down, although sales have gone up again in this country a bit and also the big companies, because they're so big, they need big sales really so they're not really interested.
You still have to pitch the same game, execute your pitches as best you can. If the shadows end up helping you out, then great, but you can't really worry about that stuff.
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