A Quote by Danny Elfman
You hear the beginning of a melody, you should kind of know it's going to lead down this path. It should start feeling like a friend, like familiar.
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Innovating something that is familiar. That's the general approach, and that's what I want to do with the melody as well. It should ring true - you should like every melody sequence without knowing what's happening next.
When I start to write a song, I have the words and I have the melody, and then it's just a matter of making it to the end. I think if I have something that I could identify as a talent, it would be that I can finish a song. I kind of know intuitively where the melody should go.
I kind of just lost track of laps. I couldn't hear a split. It was just so loud in here everyone was going nuts. I sort of felt like I was a little tired and I said, the people in front of me seem like they are falling off the lead pack a little bit. I should probably make a move. I hear ding, ding, ding, ding and I thought "oh crap! I've really got to go, I've got a lot left.
That's what true love should be like-the person should be part of your soul and you should know what they're feeling all the time.
The challenges should be familiar. They should have some relationship to the feelings - like, if a movie's about being demoralized at work, it should feel familiar to people, whether you're a roofer or a lifeguard. But there's a million different ways to be demoralized, especially at work.
If you decide to go on a Buddhist path, you have to be careful if you start mixing a lot of different traditions you are not totally familiar with - mixing this kind of meditation with that kind of practice or this kind of visualization with that kind of mantra. Then you really are concocting your own thing, and you have no idea what is going to happen.
Interviews, when they are just simply an exercise in hearing what you want to hear, are of no interest. And many, many, if not most interviews have that character. The interviewer who comes in with a list of bullet points they're going to address one after the other. Interviews, properly considered, should be investigative. You should not know what you're going to hear. You should be surprised.
I don't know why you'd go to a comedian and say, "You know what? You have a large menu of items, but this one thing I did not like and therefore, you should be shut down. You should cease to make a living and you should be thrown out in the streets."
You know you're ready to write a book when you have a feeling that you should do it, no matter what anybody says. It's like falling in love or starting a company. When you're still wondering if you should get married or you're still wondering whether you should start a company that might be not the right person or the right idea. And writing is the same way. When you've locked on to the topic, you'll just write it.
I will never know what it's like to walk down a street and feel unsafe. No one should have to experience that feeling.
You should do what we do, stack chips like *Hebrews*
Don't let the melody intrigue you (uh-uh)
Cause I leave you, I'm only here
For that green paper which lead you
So I really love this very difficult feeling of being completely out at sea. I don't know what I'm doing, and I kind of like this feeling. So I think for the moment, I'm going to continue to try and nail film down in some sort of shape where I'm happy with it.
Music should be an elective experience. You should go, "I'm going to sit down and listen to some Beethoven, by God," and then you get to hear it.
I'd like to teach Iraq about Democracy because we're so experienced with it. First they should know that after 100 years they should free their slaves. Then after 150 years they should give their women the right to vote. Oh, and of course when they start it all they should begin with some genocide and ethnic cleansing.
You know, rap is sort of like a form of talking, right? So it's like you can hear, you know, the slaves doing it. You can hear, like, you know, Africans and Jamaicans doing it just kind of as, like, a rhythmic, poetic conversation, you know, to a rhythm.
I wanted to look at the mentality that can breed that sort of intensity, that kind of cutthroat, pressure-cooker feeling, especially a form of music like jazz, that should be - or you'd think should be - all about liberation and improvisation and everything.
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