A Quote by Gordon Bethune
It's like telling Mozart that there are too many notes in an opera. Which one do you want us to take out?
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Mozart wrote so many works in his thirty-five years that it would take a lifetime just to write out the notes. We literally do not know how he did it.
I definitely take notes, but I feel like sometimes if I take too many notes, it kind of bogs down my mind a little bit. So, I just write down stuff that I need to remember for the game.
I feel like the great filmmakers who have a true voice, yeah they take the notes, they understand the notes, but it's really about the notes underneath the notes. When you do a test screening and somebody says, 'Well, I didn't like the love story,' but it was probably just too long.
Children are given Mozart because of the small quantity of the notes; grown-ups avoid Mozart because of the great quality of the notes.
Too many of us are afraid to slow down because then we would have to take a good look at how we're using our time and what we're becoming. We don't want to listen to that other voice deep inside, telling us something is not right.
Mozart's music is particularly difficult to perform. His admirable clarity exacts absolute cleanness: the slightest mistake in it stands out like black on white. It is music in which all the notes must be heard.
I was not especially enthusiastic about opera when I was young, and I thought I would never write one. I felt it was an art form of the past, with expensive singers exposing their high notes, and bad theater, and ridiculous stories which don't concern us. But then little by little I realized that it can be defined very differently, that on the contrary opera can be something profound and not superficial - a wonderful meeting point for all the other arts.
I don't like to be overexposed. Too many articles, too many tweets, too many posts, I just don't like that. But at the same time, we live in a culture where that's almost necessary. People want content and they want their stuff when they want it.
It's impossible to say a thing exactly the way it was, because of what you say can never be exact, you always have to leave something out, there are too many parts, sides, crosscurrents, nuances; too many gestures, which could mean this or that, too many shapes which can never be fully described, too many flavors, in the air or on the tongue, half-colors, too many.
Something in us is telling us we're moving too fast, at a pace dictated by machines rather than by anything human, and that unless we take conscious measures, we'll permanently be out of breath.
We do not want another committee, we have too many already. What we want is a man of sufficient stature to hold the allegiance of all the people and to lift us up out of the economic morass into which we are sinking. Send us such a man, and whether he be God or devil, we will receive him.
I listened to the pure crystalline notes of one of Mozart's concertos dropping at my feet like leaves from the trees.
I consider myself a lyricist first and foremost, but if you get something else out of what I do, that's fine too. I'm not sitting back here telling people how they have to take my stuff. We just want to play music, and hope that people like it.
I want tap to be something danced in arenas. Sort of like a rock group. Other art forms happen every night. Take theater, opera; there's always opera happening every night.
When I hear music I want to engage in it. Even if I engage in it very quickly and turn it off in my mind. If I'm in an elevator, clearly I don't want to be dealing with that, even if it's Mozart. In fact, especially if it's Mozart. I don't think Mozart belongs in an elevator.
Too many musicians rush through everything with too many notes. I need time to take the picture. A ballad should be a ballad. It's important to understand what the song is saying, and learn how to tell the story. It takes time. I can't rush it. I really can't rush it.
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