A Quote by Alex Kapranos

Anyone can play an instrument if you show them how to move their limbs, lips or fingers the right way. It's irrelevant. What is relevant is personality, energy, creativity and disturbing sense of humour.
I do so play an instrument! I play air! I play the air with my fingers, and I'm in touch with the deepest emotions within. It took me a while to learn that whatever I feel like doing is the right thing. If I want to play an invisible instrument, I will.
Learning to play old instruments was a challenge. How do you learn an instrument no one has played in hundreds of years? The ones that are used today, I was adamant not to hear anyone else play that instrument. I want to approach them as a child and on the basis of each instrument. I wanted my voice to come through, not someone else's.
Lips move; lips touch; lips signal. Lips are on the outside for show, and on the most secret inside of your mouth. Lips frame words that lie. Lips frame a hole that wants to be filled.
Do not tell them how to do it. Show them how to do it and do not say a word. If you tell them, they will watch your lips move. If you show them, they will want to do it themselves.
Every player, they should sit down and have a meeting. They should agree, 'this is how we play Nadal, this is how we play Federer, this is how we play Djokovic.' Then, all try to play them the same way. The right way. First you have to play the right way, then you need to play well.
I think you can teach people a technique - you can teach them how to use their voices, how to breathe properly, how to move their limbs a certain way. But to actually explain how one performs comedy or drama or tragedy isn't the same as the movements one makes.
The No. 1 quote critics give me is, 'Thom, your work is irrelevant.' Now, that's a fascinating, fascinating comment. Yes, irrelevant to the little subculture, this microculture, of modern art. But here's the point: My art is relevant because it's relevant to 10 million people. That makes me the most relevant artist in this culture.
I do find the sight of small children eating very moving. Watch the way their tiny fingers clamp the cutlery. The exaggeratedly precise way they move cups or glasses to their lips.
Who was it that said he needed a fulcrum? Give me an unobstructed right-of-way and I'll show them how to move the earth!
Common sense and a sense of humour are the same thing, moving at different speeds. A sense of humour is just common sense, dancing. Those who lack humour are without judgment and should be trusted with nothing.
When friends enter a home, they sense its personality and character, the family's style of living - these elements make a house come alive with a sense of identity, a sense of energy, enthusiasm, and warmth , declaring: "This is how we are; this is how we live."
You hear people talking about a Scottish sense of humour, or a Glaswegian sense of humour, all sorts of countries and cities think that they've got this thing that they're funny. I read about the Liverpudlian sense of humour and I was like, 'Aye? What's that then?' You get that and you especially hear about a dark Glaswegian sense of humour.
An actor is like an instrument, tune them, play them the right way.
The English take everything with an exquisite sense of humour. They are only offended if you tell them that they have no sense of humour.
The themes that I explore, Taika Waititi also explores: how teaching children a sense of 'us and them' breeds a sense of superiority and dehumanises what one perceives as 'otherness'; and why this theme is relevant to today's rise in the far-Right, how children and youth are indoctrinated into extremism and terrorism.
People still talk about a British sense of humour, or French slapstick or how the Germans have no sense of humour - and it's just rubbish. I do strongly feel that we are all the bloody same.
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