A Quote by Charlie Hunter
So it's really hard for a horn player to comp. But I'm totally into trying to switch those paradigms around and find a little magic space where that works, and try to mine that.
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Between takes I find it difficult to switch off and then try and re-emerge myself in the part, so I try to stay in that frame of mine all day. It can be exhausting and you lose a sense of self, but it is the method that works best for me.
There is always magic to be summoned at any point. I love to live in a world of magic, but not a fake world of magic. We all really basically have a lot of magic... It’s only those of us who choose to accept it, that really understand it. It’s there for everyone. That’s the only thing that I feel I am able to give to people and that’s why I know that they respond to me because I try to give them only their own magic... not mine, but theirs
It's not hard at all to make the switch from United to Oranje. For a manager, it's totally different than for a player.
You hear it in the great musicians, whether it's a drummer or a horn player or a guitar player - you hear them take those breaths. You can feel that there's something they're trying to tell you.
Customers get vested in certain paradigms of computing, and those large vendors will try to keep those customers in those paradigms of computing for as long as possible. That's where you basically get the term cash cow.
Some days you get up and put the horn to your chops and it sounds pretty good and you win. Some days you try and nothing works and the horn wins. This goes on and on and then you die and the horn wins.
It's not me to toot my horn. The minute you toot your horn, it seems like society will try and disconnect your battery. And if you do not toot your horn, they'll try their darnedest to give you a horn to toot, or say that you should have a horn.
There are 3 kinds of magic in our world. The peddling little magician magic like Uncle Andrew in 'The Magicians Newphew' where people mess around with things they don't understand. It's movie magic. Then there is the magic of the evil side of things. The demonic forces. And that's not really magic... it's corruption of what really exists. And then finally there is the magic of the Holy Spirit of God which is the creation and maintenence of the universe. We don't understand it... and we haven't the faintest idea how He does it. But it's real. That's the deep magic.
I took some comp for non-comp major classes with Giacomo Bracali and Ludmila Ulela, who was a really famous composition teacher.
I'm always trying to find that role that will allow me to stretch and play a lot of different sides, but it's hard. To be frank, as an actor, I read maybe a hundred scripts a year and I really strongly respond to probably two, but every other actor in town responds to those two scripts, as well. It's hard to land those roles that are really good because they're coveted. That's why I try to create for myself, and that's why I've been doing things outside of acting, like writing and producing. I try to not have to depend on other people so much.
When I went to college, I thought I was going to become a professional musician. I was a French horn player, so I went to Yale to study with a very unusual French horn player.
I always wished I could move around and switch schools. It was hard to have these radical transformations. You'd think, 'I will be a totally different person tomorrow,' but it never worked.
With just a little love and a little caring, I have seen kids totally turn around. Where you can't find any cancer at all anymore in their body. I've done it a lot of times. I'm not trying to say I'm Jesus Christ. We should just give a little more attention to the power of love and caring and faith and prayer.
Ambiguity is really important to me. Part of the difficulty facing photographers is that almost any subject matter has accumulated a representational history, so to find a new discursive space, a space to wander around those subject matters, is a real challenge.
I was 12 years old when I first moved to New York, and at that age, you're trying to find yourself. It was hard being so different from everyone I was around, and I felt that nobody could really understand me because everyone was American, and I was this little English girl with an accent.
The magic - we can try to capture the magic - the music that comes out of the speakers. That sparkle of magic that we can get sometimes is just what we are looking for and if it works while we're in the studio the two of us, then we think that maybe we can share it with an audience. And it's been the case from the beginning.
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