A Quote by Esa-Pekka Salonen
I love a visceral sound, the kind that hits you in the belly.
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Most of the time, when I had hits as a soloist - maybe not so much with Simon & Garfunkel - I was surprised they were hits. I didn't know what the hits were. I never thought that 'Loves Me Like A Rock' was going to be a hit, or 'Mother And Child Reunion,' or '50 Ways To Leave Your Lover.' They didn't sound like what the hits sounded like at the time. Radio was more open to things that weren't exactly what every other hit was.
What is essential in love is what the French call 'amour fou.' What is that in English? Crazy love? That doesn't sound as beautiful. It's a total kind of love that not only embraces feelings, actions, but a kind of understanding of the world from the perspective of love.
I've always been a fan of physical comedy. It kind of hits you in a different way; it bypasses the intellect and hits you in the gut.
Wouldn't it be great to see a line in all movie credits that truthfully says, 'Nobody was harmed in the making of this film, and at the cast party, all animals got a belly belly belly rub.'
Wouldn’t it be great to see a line in all movie credits that truthfully says, “Nobody was harmed in the making of this film, and at the cast party, all animals got a belly belly belly rub”.
The visceral nature of hard rock music, the fact that you can have this sledge hammering sound - and that you can hook a lyric up and a feeling up to something and make the lyric jump into this machine that crushes. That has always been really attractive to me, that kind of power.
It's kind of weird. You can have hits, but it's hard to sustain a career. I went through that period where I didn't have a lot of hits, although people were still buying the records.
I'm always trying to evolve my sound. I love the simplicity of my setup. I play Gibson guitars and Marshall amps. So it's kind of like the standard rock sound.
Where I grew up in the middle of Georgia, hip-hop is king, and on Friday and Saturday nights, local DJs do mixes. It's a great mix of local stuff and then some of the bigger hits and remixes of the hits, and it just has this nice flow with a dirty-South sound to everything.
Acting is kind of difficult to intellectualize - it's a far more visceral experience. It's really hard to be able to think about and then employ these kind of esoteric notions of this person's backstory and try to weave it in somehow. It's just kind of impossible.
It's the subconcussive hits, the constant bam, bam, bam that linemen like Suh give and receive. Those are the hits scientists say cause the lasting damage to the brain, the kind of injuries that made guys like Mike Webster, Terry Long, and so many others go crazy. The subconcussive hits - every single play.
To be honest I'd just love to keep writing hits for other people... That's kind of my secret dream.
Everybody can't come to New York and take the hits, take the hits of the city, take the hits of the media, take the hits of the fans. It's real.
I made that a point when I was creating my sound from the beginning, I didn't want to sound like anybody. Once I kind of found my own sound, I mastered it.
The instrumental record is a bit subtler. It's the kind of stuff on sound check, when I first pick up my violin and start to play, the kind of melodies that just pour out of me. Some of them sound very classical. Some of them sound experimental, polyrhythmic loops that I make.
You go to any Jay-Z concert, and he plays his hits. Comedians don't have hits. You have to have a whole brand-new hour. You have no hits to rely on. It's the hardest thing.
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