A Quote by Bryce Dessner

I like to think of myself as a musical scavenger. — © Bryce Dessner
I like to think of myself as a musical scavenger.
It's funny because I consider myself a musical scavenger. What that means to me is that I usually avoid feeding on the fresh meat. I kinda go for the meat that's kinda been forgot for a while.
I call myself a labourer because I take pride in calling myself a spinner, weaver, farmer and scavenger.
I like to think of myself as a pure rebel; A radical thinker on a musical level.
Looking back, I think I was always musical. My dad was very musical, and I think my mom was musical.
I've never had a musical career. So I think it's been unaffected. I play the accordion. In terms of thinking of it as a musical career, I think it's sort of like calling yourself an astronaut because you have a shiny suit.
I've always felt a great affinity with music. I've felt myself to be more of a musician than anything else, though I'm not proficient in any one instrument. But I think I have a musical sense of things... and writing seems to me to be a musical experience - rhythmically and in many other ways.
I do think musical-theater actors can get a bad rap, and I see why. There is a certain slickness - there's nothing better than an amazing musical, but an okay musical can be one of the worst times you've ever had.
Opera is musical theatre, and the music can teach you so much about the theatre. Very often I use musical terms to think about how I comport myself on stage: I employ 'rubati,' 'ostinati,' 'cadenze.' Finding these parallels is very fascinating for me.
I'd quite like to do a musical. I'd probably have to develop that myself.
It's nice for me to have a ballet as a kind of platform for creativity, because unlike modern dance or contemporary dance or downtown dance, ballet is formalized, and there's something orthodox about it that I like. I like that there's less emphasis on subversion and innovation. I actually think that my musical vernacular or my musical voice is also less inclined toward innovation and subversion. I think I'm a traditionalist.
I do think that it's better for a musical to live its life first because if you see it on the screen, would you like to go to the theater after that? Probably not. You've seen it. And that's the mystery of a musical that hasn't been filmed. You're bloody meant to go there and buy your ticket.
I think there's a huge parallel that affects my musical taste, and connections that have to do with my ethnic diversity and my musical tastes and the diversity of that. And it's interesting that, growing up on the circuit, it posed such a challenge, not only to me deciding what my identity was amongst my peers, but then on the music side, it was like trying to explain or convince people especially in the music industry that there was a place for what I was trying to do. But at the same time, I think it has a lot to do with timing and even me, like, understanding it.
Like a magpie, I am a scavenger of shiny things: fairy tales, dead languages, weird folk beliefs, fascinating religions, and more.
So when it comes to being a role model to women, I think it's because of the way that I feel about myself, and the way that I treat myself. I am a woman, I treat myself with respect and I love myself, and I think that if I'm holding myself to a certain esteem and keeping it real with myself, then that's going to translate to people like me.
I didn't think of myself as a singer. I'm an actor who recites words, and sometimes that happens to be on musical notes.
I was in a musical for a while, and I sing around the house all the time, but I don't ever think of myself as a singer.
This site uses cookies to ensure you get the best experience. More info...
Got it!