A Quote by Anne Fontaine
Making films is - or should be - a very personal experience. You shouldn't listen to anybody, other than the people you choose to listen to.
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The nature of making music and making art, what motivates me is that it's interesting. It's interesting to listen, to really listen to other people's point-of-view. Take in their work. Listen to the way they sing. Listen to the way they write lyrics. What they are trying to express.
I think I've owned all the models of iPods so far. And these days between my iPod, iPhone and my personal laptop computer, I'm someone who is very, very grateful for all the ways to listen to music and completely switch off from people around me and listen to the music in detail, which is very hard to do if you're in a room with other people.
I don't listen to anybody's full record anymore and when I did, I don't think I listened to the whole record. I'm sorry, and I don't care who it is, if it's the Beatles, I can't listen to an hour and a half of anybody straight so I guess that's just my personal preference.
Here is why I will be a good person. Because I listen. I cannot speak so I listen very well. I never interrupt, I never deflect the course of the conversation with a comment of my own. ...I beg of you, pretend you are a dog like me and LISTEN to other people rather than steal their stories.
When I listen to a record, or when I'm making a record, I listen to everything. I listen to the drums, the bass, the voice, the arrangement. I listen to the whole piece as an ensemble. I don't only listen to the guitar player.
I got my own sound in Atlanta because I don't listen to anybody's music. When you listen to people's music, you start to say stuff they say as an artist because that's what you've been listening to. Me, I don't listen to anybody. I support, but I don't listen, because I don't want to run with someone style. I do my own thing.
The truth is, it's a totalitarian dictatorship when you're making films. You are the boss. You can listen to other people, and it can be a benevolent dictatorship, but it's a dictatorship nonetheless. A lot of directors go past their first experience, that's what they've come away with.
I used to not listen that much, but I've really learnt to listen to other people and to really listen to what they're saying. I've found, especially being on a film set, people have so many different stories; if you just listen, you can pick up so much stuff. I try to listen as much as I can.
Everybody has their opinion on what's 'real,' and what's they choose to listen to and their personal preference. Whether they're 2 years old or 200 years old. And people can listen to whatever they want.
When I listen to a record, or when I'm making a record, I listen to everything. I listen to the drums, the bass, the voice, the arrangement. I listen to the whole piece as an ensemble.
In life we listen to other people. Listen with varying degrees of concentration and attention, right? Actors must learn to listen in a different way.
I'm making music for other people to listen to for pleasure. And hopefully, later on maybe they'll listen to it and go, "That bass line, boy, did you hear the way those drums interacted with that?"
I don't listen to music. I very rarely listen to music. I only listen for information. I listen when a friend sends me a song or a new record.
Both times I was in India, I could not get people to listen to each other. I had to literally tell people to listen to each other and tell them that they can't get creative and find alternate solutions if they don't listen to each other. There's a lot of arguing and justifying.
We are opinionated society. We're very happy to spout forth our own views; we're not good about listening. We have to listen to other's stories. Learn to listen to the stories of the terrorists just as we hope that they will listen to ours because very often these narratives express frustrations, fears, and anxieties that most societies can safely ignore.
I know that people don't listen to music much in the way when they'll put on a CD, sit down, have a drink or go on a car journey. People pick and choose and just listen to tracks. But when I make a record, I try to think about it as a 50 minute musical journey, so the mood is very important, as is the sequence of the songs.
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