A Quote by Brian Reitzell
With 'Hannibal,' it's almost like the music is part of the furniture, so as a character goes from one room to another room, or we go from one place to another or whatever, the music is just going with it the whole time the same way that the audience is sort of tracking it and following along.
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This is show business, and there's room for the shows and the personalities. But I think there's also room for music, for people to play music, and there seems to be an audience developing that's willing to go listen to music again, rather than just be blown away by drum machines and choreography.
I've changed my music from time to time so I'm hoping that I can completely change my life from time to time, too. Like live in another land, in another place, and just get completely soaked up in another way of being. Could be in this country or another country, somewhere were you can be reborn a number of times not just creatively, but personally as well. I guess I want to go through life as more than one person.
If you're entering a room for the first time, do it the way you would in life - look around; see how they have the furniture arranged. If your character is meeting another character for the first time, meet them the way you would in life.
Going to directing wasn't a reaction away from acting as much as it was a move towards something I always wanted to do. Ever since I was a kid, I was interested in the camera and how it worked and why one director would place it in this part of the room and then another would place it in that part of the room.
As a kid, I was always listening to music. I would just go in to my room and put on an album, read the lyrics, and just spend hours and hours in there. Plus, my sister Laurie played piano (in fact she taught me my first few notes) so music was always around one way or another.
I look at my faith like a room, and there was all of this furniture in there, but I had inherited most of the furniture. Then, when I got divorced, I took everything out just to see how I was going to refurnish the room, and that was a very essential step in my life. It was great.
Every audience is different, even within the same venue. You have to just make every audience your audience; you can't pre-judge an audience based on the size of the room or the type of room. You've just got to be in the moment and go with it.
When playing any song in front of an audience, you're watching them experience it, and it changes. In a lot of ways, it's almost like the music is just the background buzz to what's happening between you and the audience in the room.
I'm definitely not a guy that comes in the dressing room saying, "Hey, everybody, what a wonderful life." I'm usually brooding about something I think is wrong. I care so much about getting the music right, and if I think someone's slacking I get very upset about that. I just can't go on stage and say, "Another day, another dollar," which I've heard a few people say: I can't go along with that at all. It's got to be as good as you can do - to my own detriment.
It is against the spirit of our non-discriminating times to openly prefer one sort of music to another, so let's just say that hearing grand orchestral music in a public place is exhilarating in a way that hearing popular music never can be, if only because, in a popular music age, a full orchestra is less familiar to our ears.
My attitude about death is, going into the next room, and it's a room that the rest of us can't get into because we don't have the key. But when we do get the key, we'll go in there, and we'll see one another again, in some shape or form or whatever. It's not the end.
I was shown into a room. A red room. Red wallpaper, red curtains, red carpet. They said it was a sitting-room, but I don’t know why they’d decided to confine its purpose just to sitting. Obviously, sitting was one of the things you could do in a room this size; but you could also stage operas, hold cycling races, and have an absolutely cracking game of frisbee, all at the same time, without having to move any of the furniture. It could rain in a room this big.
I think I'm really part of a whole generational movement in a way. I think a lot of other people since and during this time have gotten interested in writing what we can still call experimental music. It's not commercial music. And it's really a concert music, but a concert music for our time. And wanting to find the audience, because we've discovered the audience is really there. Those became really clear with Einstein on the Beach.
The room is a special place. It's not "A room" it's THE room. It's a place where there is no restriction. If we title it "a room" it can be any room but it's THE room so it is a special place. We all have this place. It's like our little corner that you are comfortable with.
By letting go of dieting, I free up mental and emotional room. I have more space, I can move. The pursuit of another, elusive body, the body someone else says I should have, is a terrible distraction, a side-tracking that might have lasted my whole life long. By letting myself go, I go places.
Stand-up comedians know how to walk into a room, even if you're not performing, just read the temperature of a room, and can easily sort of tell what's going on or what people are sort of feeling in the room, and it allows you to sort of approach people.
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