A Quote by Frank Iero
Very rarely I create things and feel like I don't want to recreate them in a live setting. It's a completely different world, but at the same time that's where I've always come from. Enjoying that give-and-take from a live audience, there's a large part of me that's looking forward to it, and creating that relationship again.
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Live comedy in a club, with an audience - it's hard to recreate that experience in a digital world. With Zoom, your face is there the whole time, and you feel like you have to always be on. You feel like you always have to be paying attention, and it can be exhausting.
I'm just not the same. Half of me is out there looking for you and the other half is wishing i didn't have to." I don't want to live - I want to love first, And live incidentally. Don't-don't ever think of the things you can't give me-You've trusted me with the dearest heart of all-and it's so damn much more than anybody else in all the world has ever had.
Whatever I do, I'm always struggling to create a visceral experience. With my music, I'm more of a live performer these days. And film is such a different thing. It's where people sit in a dark theater. I want them to feel me as viscerally as if they were at a live show.
In a sense, I like to think of the live performance as something different than the record, not necessarily looking to exactly recreate the record. Sometimes Matt and I just do duets folk-style. Part of the fun of seeing a live show is having it be different from the way that you hear it in your bedroom or wherever you listen to music.
I feel like movies should stick to a genre and give the audience what they want, and then surprise them with the unexpected and not just do the same thing you've always seen. But of course, you're gonna see some of the same things you've seen before. It's part of the deal.
Making films can be very lonely, and that's the part I don't like. I don't want to feel like I'm pressing 'pause' on my personal life to make a movie. I want to feel like I'm still creating relationships and things are moving forward.
No matter how much one may love the world as a whole, one can live fully in it only by living responsibly in some small part of it. Where we live and who we live there with define the terms of our relationship to the world and to humanity. We thus come again to the paradox that one can become whole only by the responsible acceptance of one's partiality.
I think there's an interest right now in the performance aspect of artworks, instead of just hanging things on walls. We're in a moment when a lot of younger artists are looking at work from the '60s and '70s - they are looking at the pieces by Marina Abramovic or Vito Acconci. These pieces have a time element. They were performed live. To perform them again now isn't simply an homage, because it's a different audience, a different moment.
I seldom feel trapped by my world. Setting up rules and restrictions is part of the process. It gives your world shape. I always look at these things like haiku: you have to work within certain parameters, but within them, you’re completely free.
I guess I prefer to play live, but I don't want to have only live CDs. I like playing live because there are alot of things that can happen. I can interact with the audience and say some things to get me in trouble. On the other hand, the studio is nice because you can really take your time and make something that you know is the best thing that you can ever do. But nothing beats being up on stage in front of all that energy.
I am 38 years old, and I want to live in Puerto Rico and I want to create a path forward for growth. I realize that have come at the most challenging times to become governor, but I want to push things forward.
To go from Jon Favreau for Iron Man 1 and 2 to Kenneth Branagh for Thor and the very different world of Thor, it's about how to adapt to Coulson in a different setting and a different world while, at the same time, still have him be a part of the same world.
I like the saying: "The world is as you are." And I think films are as you are. That's why, although the frames of a film are always the same - the same number, in the same sequence, with the same sounds - every screening is different. The difference is sometimes subtle but it's there. It depends on the audience. There is a circle that goes from the audience to the film and back. Each person is looking and thinking and feeling and coming up with his or her own sense of things. And it's probably different from what I fell in love with.
I was looking for Quincy Jones, that's who I was obsessed with. Watching Mike [Jackson], I always knew that I had to be a showman on stage, because when people come to you live you always want them to come back. You gotta give them something to remember.
I'd like to drill in a little more detail into one aspect of cutting which is particularly close to me and that's dialogue editing. It is a vital part of editing especially in animated film, but in the end it is usually completely transparent to the audience. The vocal performances are reported for over several years and the actors are very rarely in recording studios together. That's why the editor has got to all these different performances and edit them together to create the illusion of spontaneity and real action.
And also, folks live in a regular world, so when they come to our show [Aladdin], we want to take that away from them for a little bit. Just give them two hours to make up for the train that didn't come on time or the terrible news you get from TV.
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