A Quote by James Horner
I think people hire me for the slightly weird angle that I bring. Part of the trick is keeping it sort of simple; you have to give the impression of not that much music playing when there's really a lot.
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One game that I've been playing a lot is 'Super Stick Golf.' It's really simple, and it's similar in a sense to 'Angry Birds' because you have to hit the right angle and the right trajectory to complete each hole. That one really hooked me.
I feel that when people hire me they know it's going to be a collaboration and that they hire me for what I give on all sorts of levels, from my movement to the emotion I bring to the project, the passion, all of it.
I really liked punk music and experimental music that my brother was taking me to go see in the city, when I was probably, like, 13 years old. I was seeing a lot of teenagers making 'weird' music, and I think that was probably a big part of the reason that I actually started to play myself.
I'm always just looking to get back to the joy of playing music, and keeping it simple, as much as I can.
My experience in work, even going to work with Scorsese, is that people always think there's some magic trick. There's no magic trick. The people who are really good at what they do do simple things really, really well.
I'm sort of old-fashioned in the sense that I like to write something that I feel I could just perform alone, obviously, because I do that a lot in concert. So I try to make a song where there is as much that is as distinct as I can get it, just if I'm playing it or if I'm singing it. That makes me really do a lot of stuff in the guitar work when I sit and try to figure out how to indicate what sort of dynamic I'm aiming for. Where, rhythmically, I want to go. That's sort of what ties a lot of different records together, is that it's usually always based around me singing and playing a guitar.
When I was growing up, I really liked punk rock. I liked the sort of people that played really powerful music that was pretty unassuming otherwise - people who didn't dress weird or do much theatrics.
In school, I was playing old men and women, babies, Russian people, and all sorts of weird parts - a lot of comedy - and that's sort of like home to me.
A lot of the people in San Francisco think of themselves as healers - not just as people delivering this base service, but giving their clients spiritual help. It's almost like being an actor, playing a different part for each trick.
I've done a few costume dramas, and people say, 'What was it like wearing the costumes? Did they really help you with your character?,' and most of the time it doesn't make any difference. You're wearing something a bit weird, and it's sort of uncomfortable, but it doesn't really have a huge impact on the part that you're playing.
The woman is skin covered prozac I like to call her. Half the trick to a film like this is keeping a sort of emotional level going and keeping an attitude that induces creativity on the set. You have to be in a good mood for that. You have to be happy to make a comedy I think and Anne sort of ensured that every time by expressing most of her feelings through the exciting medium of dance.
If you listen to soul music, or R&B music, or Blues music, a lot of that came from church music and spiritual music, and music has always been a really really powerful tool that people have used to get them closer to God - whatever they define God as. And for me that's always been part of what drew me to it and keeps me coming back for more.
I think if you watch a lot of what I do, you're going to ultimately walk away seeing me. I can't hide - that impression is a personal impression people have of me.
I was interested in a whole range of music that I used to play, popular music -- particularly American music -- that I heard a lot of when I was a teenager," "I think at a certain point it dawned on me that myself playing this music wasn't very convincing. It was more convincing when we played music that came from our own stock of tradition. ... I certainly feel a lot more comfortable playing so-called Celtic music.
I think I'm really part of a whole generational movement in a way. I think a lot of other people since and during this time have gotten interested in writing what we can still call experimental music. It's not commercial music. And it's really a concert music, but a concert music for our time. And wanting to find the audience, because we've discovered the audience is really there. Those became really clear with Einstein on the Beach.
It's definitely weird, because pretty much everybody owns the Tony Hawk videogame. Just going over to people's houses and watching play me as I walk in - that's actually happened a few times and that's so weird. It's like, 'Dude, you're playing me right now.' It was too weird.
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