I think that the line between television and features started to blur a couple years ago. The standards started to become the same, which is that the idea had to be very loud. The show didn't have to be loud; the idea had to be loud. It had to cut through the clutter.
Going into live action, the perception I had was that to be a director, you had to be loud, you had be physically fit, wear cool hats, have a beard, and yell, 'Action!' really loud. And I'm none of those things.
I would often get called in to play a very loud, obnoxious - which, truth be told, I can be loud and obnoxious. My issue was when it was like a ghetto girl; I didn't think I was good at it; I didn't feel authentic. And so I had insecurities about going in on it.
Sadness is a very interesting idea, this idea of sadness being some kind of default setting that artists will go into. And then I started thinking about this idea of sadness and happiness, and the idea that sadness is very loud, and happiness is quiet.
The first of the four noble truths of Buddhism, that there is suffering in life, was enormously important to me. No one had ever said it out loud. That had been my experience, of course, but no one had ever talked about it. I didn't know what to do with all the fear and emotions within, and here was the Buddha saying this truth right out loud.
It was loud in spots and less loud in other spots, and it had that quality which I have noticed in all violin solos of seeming to last much longer than it actually did.
Disney is very much a child's theater - it's a very specific kind of acting. It's loud and boisterous with the goal to draw the attention of children and keep the attention of children, and it can kind of be cheesy and loud, and I had to unpack a lot of that, because as an actor, you kind of internalize, and you basically become a character.
When I started, rock and roll itself was the basic revolution to people of my age and situation. We needed something loud and clear to break through all the unfeeling and repression that had been coming down on us kids.
All reading was done in the early years out loud, there was no such thing as silent reading because you had to read out loud in order to figure out you know, where was a word ending and where is the word beginning.
It seemed so wimpy at first when I started to play [guitar]. So I started playing loud with lots of effects just to try to mimic the dynamic [of the drums]. Drums seemed a lot more expressive. [I was] Trying to emulate the feeling of playing the drums on the guitar - I guess that's why I played it so loud.
When we first started making videos, we didn't have a boom mic, so we had to talk really loud. And then we got a boom mic and were like, 'Wow, we're shouting,' and had to learn to bring it back.
I've been to a couple of restaurants in L.A. that were so loud, I left there with a sore throat; you literally could not have a conversation. I think it's very deliberate: There's this idea that somehow it's more fun if there's a roar in the room.
I love loud music. I listen loud, and that's part of how I've learned how to do this. Record softly and play back loud and a whole other thing happens.
I've had problems with my throat over the years, playing with loud bands for years, and I've had bruised vocal chords and nodules.
When Rose takes to screaming, she starts loud, continues loud, and ends loud. Rose has a very good ear and always screams on the same note. I'd tested her before I burnt the library, and our piano along with it. Rose screams on the note B flat. We don't need a piano anymore now that we have a human tuning fork.
I had a real stage school voice and I could do loud things, but it's not about being loud, it's about sensitivity and subtlety in music. You can do so much more with a quiet voice than with a belter.
Their goal was in sight. They had a Titan with a very loud kitten on their side. That had to count for something.