A Quote by Daryl Hall
When you're playing in front of people, everything is external. It's all going from you out to an audience. When you're in a studio, it's very internalised, it's going from the air through you into this meticulously crafted, layered piece of work.
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If I do a piece in my living room, if I practice it - and I have the tapes to prove this - it's not going to be as good as doing the same piece in front of an audience.
You're in front of an audience, but you're playing for a camera. There's this huge adrenaline rush, because you know that besides the audience in the studio, there are millions of people watching at home.
It's very important that a film that intends to play tricks on the audience... has to play fair with the audience. For me, any time you're going to have a reveal in the film, it's essential that it have been shown to the audience as much as possible. What that means is that some people are going to figure it out very early on. Other people not til the end. Everybody watches the film differently.
Sometimes I go to a test screening and look at the audience in line, and I start to go, "Okay, I bet this is going to work, and this isn't going to work." It's weird, but just going and facing the music and putting it out before a crowd, even before it starts playing, that exercise of putting it up on a screen for people makes you realize things even before it starts rolling. It's really weird. I've heard other people say that, too.
I wake up from dreams and go, 'Wow, put this down on paper.' The whole thing is strange. You hear the words, everything is right there in front of your face. ... I am always writing a potpourri of music. I want to give the world escapism through the wonder of great music and to reach the masses. ... And I remember going to the record studio and there was a park across the street and I'd see all the children playing and I would cry because it would make me sad that I would have to work instead.
If I'm going to sell out, I'm going to sell out all the way, so a bid by the studio would be if you're going to go through the pain of trying to make a film, it's gotta be worth it.
Listen she said, everything ends, every single relationship you will ever have in your lifetime is going to end.... I'll die, you'll die, you'll get tired of each other. You don't always know how it's going to happen, but it is always going to happen. So stop trying to make everything permanent, it doesn't work. I want you to go out there and find some nice man you have no intention of spending the rest of your life with. You can be very, very happy with people you aren't going to marry.
You carry that through and adapt it to a camera lens, but you're quite right, you cannot be sure of what an audience is going to do. You don't know what's going to happen to the piece you're doing anyway. You don't know how it's going to be edited. There are a lot more unknowns in cinema. But that you have to readily accept. That's when, I think, you have to forget about intellect, to a degree. Intuition is very important when you're working with a lens, I believe, for what the lens is doing, too.
The city is going to survive, we are going to get through it, It's going to be very, very difficult time. I don't think we yet know the pain that we're going to feel when we find out who we lost, but the thing we have to focus on now is getting this city through this, and surviving and being stronger for it.
Somebody told me about a band that works out their whole set as if it was one song. They learn the whole set as one piece, so they know how the dynamics of it work. It's really difficult to do, and you can only really do it while you're on tour, as being in a rehearsal studio is not the same as being on stage in front of an audience.
I tell people all the time, as I was going through my process of being a comedian or being an actor and a writer at SNL, I tell people that everything you do is all a piece of your puzzle to determine where you’re going to end up at.
I tell people all the time, as I was going through my process of being a comedian or being an actor and a writer at 'SNL,' I tell people that everything you do is all a piece of your puzzle to determine where you're going to end up at.
Then you realize that the preparation and the planning of this small army of people trying to head to the single aim of creating a work that's going to excite people is very risky. Of course, the odds are that it's not going to work out because there are too many possibilities of it going wrong.
They're very sociable occasions and there's no barriers between us and the audience. It's customary that after our performances, we go out into the foyer and spend an hour or so signing autographs for the fans and having our pictures taken with them.We strongly believe that going out front to meet the fans is just as important as playing the gigs - and we all love a good natter!
I always knew that if I was ever going to perform something that I wrote in front of an audience, I was going to do the thing I most like to experience as an audience member, which is to be tricked.
I remember one day going in the studio to sing and then going to work with three separate songwriters before I came back in the studio. I was running on empty.
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