A Quote by Hiromi

I have to be very original and have a strong musical voice. I don't want to be a copycat of anybody. — © Hiromi
I have to be very original and have a strong musical voice. I don't want to be a copycat of anybody.
As cliched as it sounds, if you have an original voice and an original idea, then no matter what anybody says, you have to find a way to tell that story.
The main thing was finding this... voice that I had interest in, which I'll call the quiet-yet-stoic voice: the very quiet yet very strong voice that I developed, that people would want to hear and that was worth paying attention to.
There is something about musical narrative and Australians. If you want to do something, you kind of have to do it at a level - because we're so far away from everywhere else - that exceeds what is just normal if you want to convince people that some guy from Australia is worth backing for an original musical.
As long as you're being a copycat, you will never be the best copycat.
With musical theatre, although there are rules, they're so different to the ones I feel like I have accidentally been ingrained with writing pop music. The main point is to tell the story. You just have to make sure the character's voice is strong and the storytelling is strong.
I want to have more original-screenplay Oscars than anybody who's ever lived! So much, I want to have so many that - four is enough. And do it within ten films, all right, so that when I die, they rename the original-screenplay Oscar 'the Quentin.' And everybody's down with that.
I've got quite a low voice, so it's not your typical musical theater voice, but I do love musicals; they're a very different experience.
But what I would like to say is that the spiritual life is a life in which you gradually learn to listen to a voice that says something else, that says, "You are the beloved and on you my favour rests."... I want you to hear that voice. It is not a very loud voice because it is an intimate voice. It comes from a very deep place. It is soft and gentle. I want you to gradually hear that voice. We both have to hear that voice and to claim for ourselves that that voice speaks the truth, our truth. It tells us who we are.
It's hard work to find your own voice and not to copycat anything.
Whatever is original in my writing comes from my musical apprenticeship. I look for rhythm in words. I imagine words as if they were musical chords. Often I'll write something, read it, and find it musically unsatisfactory. There is a musical imperative in my choice of words.
If you're a voice for a community, then you're a voice for something more than yourself. I want to have an impact, because I don't want anybody to have to go through what I went through.
Live-action films are very much a director's medium, and that director is going to be a very strong voice, a stronger individual voice than you'd have in animation.
Purity is very fragile when it takes physical manifestation. It is very, very strong in its original aspect.
I had a hole in my voice. It's an area in the voice where it's air. It's just - there's no - it's just very airy. And my classical teachers were just so frustrated with me because I would have these deep, low notes that were really strong, and the higher register was strong, but right in that middle area, it was really hard. It was like a passage. And many singers go through this and work it out. But I realized in jazz, I could just take advantage of that and take advantage of having a voice that was very different in different areas.
I want to work with anybody original.
Very few people are original. There's very little original anything out there. Because to be original means you have to stand alone.
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