A Quote by Anthony Hopkins
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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The screen is a window through which one sees a virtual world. The challenge is to make that world look real, act real, sound real, feel real.
Think of the sound you make when you let go after holding your breath for a very, very long time. Think of the gladdest sound you know: the sound of dawn on the first day of spring break, the sound of a bottle of Coke opening, the sound of a crowd cheering in your ears because you're coming down to the last part of a race--and you're ahead. Think of the sound of water over stones in a cold stream, and the sound of wind through green trees on a late May afternoon in Central Park. Think of the sound of a bus coming into the station carrying someone you love. Then put all those together.
You have to have a sound that inspires you to play because, if not, you won't be able to make the sound you have work. You won't be able to make magic with it if you're not happy with it, so it's important that you at least please yourself to the level where you can just relax and be an artist.
I like the idea of imagining a sound and feeling a sound and then having it come out through your body, through an instrument. That's an important way to make music.
I'm very interested in vertical space.I want the players to listen to their sound in such a way that they hear the complete sound they make before they make another one. So that means that they hear the tail of the sound. Because of the reverberation, there's always more to the sound than just the sound.
Like a good song, life has verses, the goliards had taught me. Each verse has to be sung. It takes all of them to make a song. It is the entire chanson you name, but when you think of it, when you smile, it is a favorite verse that delights your ears.
I was a poet too; but modern taste
Is so refined and delicate and chaste,
That verse, whatever fire the fancy warms,
Without a creamy smoothness has no charms.
Thus, all success depending on an ear,
And thinking I might purchase it too dear,
If sentiment were sacrific'd to sound,
And truth cut short to make a period round,
I judg'd a man of sense could scarce do worse
Than caper in the morris-dance of verse.
The real challenge of writing songs isn't just writing a bunch of parts - like a verse, chorus, verse - but making something that flows together, that brings you back.
When we sit in meditation and hear a sound, we think, 'Oh, that sound's bothering me.' If we see it like this, we suffer. But if we investigate a little deeper, we see that the sound is simply sound. If we understand like this, then there's nothing more to it. We leave it be. The sound is just sound, why should you go and grab it? You see that actually it was you who went out and disturbed the sound.
We expect kids to go straight from Shel Silverstein to William Shakespeare. There needs to be a bridge of relatable, fun, rhythmic verse that gets kids to cross over, so to speak, so they can appreciate Mary Oliver and Naomi Shihab Nye and Langston Hughes.
There's no excuse for having a mental or creative block in sound. You can just go out and collect things in the real world - they make the sound, not you. It's very restricting to always use a library for sound effects. It's much more interesting and freeing to go out and record new sounds because you never know what you're going to get.
To me [my marriage to Kim Kardashian] was real. I would never go through something or do something that wasn't real or I didn't believe in, so I can really only speak for myself in terms of that.
I love writing songs. One of the toughest things is structure; it just works when you use verse, chorus, verse, chorus, bridge. And as soon as you become aware of that formula, you start to have a bad conscience when you write with that particular structure.
I work very hard on all my poems, but most of the work consists of trying not to sound as if I had worked. I try to make them sound as natural as possible, but within a quite strict form, which to my ears has a lot to do with musical rhythm and sound.
Whatever you think The Uni-verse is withholding from you, YOU are withholding from The Uni-verse. If you think that The Uni-verse isn't answering your prayers, chances are you aren't listening to your intuition and following it. You are so scared that you ask for new intuition, but that's not how life works. The Uni-verse is constantly whispering to you, nudging you to trust It and take a leap. But if you don't take the leap of faith, then The Uni-verse can't open any more doors for you.
A record can make an artist sound in tune or make the music sound pretty. But the real test is performing live, and I think we pass fairly well, because people keep asking to see us play.
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