A Quote by Ethan Mordden

A flop is often the result of the fact that each of the talents involved, while working on the same project, may in effect have been working on a different show from all the others. If all contributors do not share the same vision of the evening, the end product will not evince the harmony of diverse elements-the seeming inevitability of book, score, and staging-of a good musical.
Books are frozen voices, in the same way that musical scores are frozen music. The score is a way of transmitting the music to someone who can play it, releasing it into the air where it can once more be heard. And the black alphabet marks on the page represent words that were once spoken, if only in the writer's head. They lie there inert until a reader comes along and transforms the letters into living sounds. The reader is the musician of the book: each reader may read the same text, just as each violinist plays the same piece, but each interpretation is different.
We all declare for liberty; but in using the same word we do not all mean the same thing. With some the word liberty may mean for each man to do as he pleases with himself, and the product of his labor; while with others, the same word many mean for some men to do as they please with other men, and the product of other men's labor. Here are two, not only different, but incompatible things, called by the same name - liberty. And it follows that each of the things is, by the respective parties, called by two different and incompatible names - liberty and tyranny.
I love to argue and share bright ideas in a rehearsal room, and when you live with somebody who is working on the same show, the delight can go on all evening!
The will of God prevails. In great contests each party claims to act in accordance with the will of God. Both may be, and one must be, wrong. God cannot be for and against the same thing at the same time. In the present civil war it is quite possible that God's purpose is something different from the purpose of either party - and yet the human instrumentalities, working just as they do, are of the best adaptation to effect His purpose.
There is indeed a level of improvisation where we can distort and shuffle the music patterns, samples, and loops in each phase of the show within fixed cue points, but at the same time there is a constant result that we are trying to achieve each night while performing and operating our system - quite similar in spirit to a broadway show for example: If you go see a musical two nights in a row, the performances are different yet similar.
As the book writer for one big smash and one big smelly flop, I always wondered if anyone knows just what goes into making a great musical. When a show is a hit, the critics trip over themselves not knowing who to laud and applaud the loudest. It's that marvelous score, those urbane lyrics, that irreplaceable star. But only when a show is a flop, does anyone notice the book writer. And then it's always our fault.
I like to define networking as cultivating mutually beneficial, give-and-take, win-win relationships... The end result may be to develop a large and diverse group of people who will gladly and continually refer a lot of business to us, while we do the same for them.
I'm strictly a one-project-at-a-time kind of guy. If I came up with a compelling idea for a different book while working on a project, I'd probably abandon the first project and go with the new idea.
Whenever learners or those beyond learning awaken the mind, for the first time they plant one buddha-nature. Working with the four elements and five clusters, if they practice sincerely they attain enlightenment. Working with plants, trees, fences and walls, if they practice sincerely they will attain enlightenment. This is because the four elements and five clusters and plants, trees, fences and walls are fellow students; because they are of the same essence, because they are the same mind and the same life, because they are the same body and the same mechanism.
In animation, you may be working with 20 writers, and everybody has to write the same thing. You can't have episodes that don't feel like they belong. In comics, you're gonna write a whole run, which means it's your style that's coming through. But when you're working on a show that's collaborated with a dozen other writers, you have to have a style that blends the show together. So you can't write it the way you normally would, because your script will stand out from all the others.
It is my mission to help in the breaking down of classes, and to make all men feel as if they were brethren of the same family, sharing the same rights, the same capabilities, and the same responsibilities. While my hand can hold a pen, I will use it to this end; and while my brain can earn a dollar, I will devote it to this end.
People talk about the difference between working on stage and working on film. I think you could say that there are as many differences between working on low budget films and working on big budget films. You really are doing the same thing, but at the same time you're doing something vastly different as well.
Working with Thug and working with Future feels the same. They don't sound like each other, but their creative process and their level of talent is the same. Anybody who knows both of them would agree.
You're right, we both have been working on these films [Kung Fu Panda] forever and we know these characters so well that literally we will react to the same note in the same way. We will have the same answer most of the time.
The hardest thing about a musical is making sure everybody is working on the same damn show. That is the monster.
No two men see the world exactly alike, and different temperaments will apply in different ways a principle that they both acknowledge. The same man will, indeed, often see and judge the same things differently on different occasions: early convictions must give way to more mature ones. Nevertheless, may not the opinions that a man holds and expresses withstand all trials, if he only remains true to himself and others?
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