A Quote by Jeff Britting
I always thought the story [Anthem] would work in three dimensions - and studying that cut material was very useful.
Related Quotes
There are always dimensions, and the way they get expressed is through the writing and the actors and the director you get to work with on that day. But there are always dimensions, outside of really basic stuff for very young people where it needs to be very clear.
The material I did was lasting material. A lot of people thought I wasn't doing anything, but I was in the studio. The biggest factor is the material you choose. You hunt, you cut.
The best adaptations are the ones that really excavate the material. The movies that work are the ones in which somebody very smart figured out how to take all the thematic material, all the character material, all the filigree, all the beautiful writing and put it into a story.
You are a victim of your own neural architecture which doesn't permit you to imagine anything outside of three dimensions. Even two dimensions. People know they can't visualise four or five dimensions, but they think they can close their eyes and see two dimensions. But they can't.
The theory has to be interpreted that extra dimensions beyond the ordinary four dimensions the three spatial dimensions plus time are sufficiently small that they haven't been observed yet.
Once I'm committed to a role, I will go very deep into it, even when I'm not at work. I'll keep on studying the script, maybe 40 or 50 times. I might call a scriptwriter at three in the morning to say I've thought of something new.
I had to leave some traces. In the beginning, I would give complete instructions to the photographer. In the '70s, people would come to photograph your work and you would just end up with this crazy material that had nothing to do with your work; maybe I'd pick up two or three photographs that were the closest to the idea. This is why when you look at the '70s, you see much less documentation and really bad material. The material will become misleading to what the piece was.
The second draft is on yellow paper, that's when I work on characterizations. The third is pink, I work on story motivations. Then blue, that's where I cut, cut, cut.
Ayn Rand called her novella Anthem a "hymn to man's ego." My approach to Anthem the play was to provide the story a further dimension through music and sound. The work is now larger than a hymn. It's really "spoken opera."
Since I found that one could make a case shadow from a three-dimensional thing, any object whatsoever - just as the projecting of the sun on the earth makes two dimensions - I thought that by simple intellectual analogy, the fourth dimension could project an object of three dimensions, or, to put it another way, any three-dimensional object, which we see dispassionately, is a projection of something four-dimensional, something we are not familiar with.
The movies that work are the ones in which somebody very smart figured out how to take all the thematic material, all the character material, all the filigree, all the beautiful writing, and put it into a story.
We've been doing work outside of the anthem since the beginning. Before the anthem even started, players were involved in these types of social justice issues. The anthem protests or demonstrations just brought eyes and attention to it.
Do you think it's possible that things that seem to be discrete in three dimensions might all be part of the same bigger object in four dimensions? ...What if humanity- that collective noun we so often employ- really is, at a higher level, a singular noun? What it what we perceive in three dimensions as seven billion individual human beings are really all just aspects of one giant being?
The problem I've always discovered in my own work when this kind of thing happens when you hit the wall is there's almost always a reason. You've almost always made a mistake in the initial conception of the project. You misapprehended something or you thought something would work and now you're three quarters on the way through and you see that it doesn't work.
I'm very excited to once again perform the National Anthem at Michigan International Speedway for the GFS Marketplace 400. The fans at MIS have always been great to me and it is always an honor to perform for them, whether it's a concert or the National Anthem.
As I've gotten older, I've realized the element that sounds like The Gaslight Anthem that's mine is always going to be me. The other three-fourths of it is going to be the other guys. I can't stop doing what I do naturally, whether I'm in The Gaslight Anthem or my own thing.
Related Authors
Alexandre Desplat Quotes
French
Composer
Andrew Lloyd Webber Quotes
British
Composer
Anu Malik Quotes
Indian
Composer
Henry Mancini Quotes
American
Composer
Igor Stravinsky Quotes
Russian
Composer
John Cage Quotes
American
Composer
John Walter Bratton Quotes
American
Composer
Krzysztof Penderecki Quotes
Polish
Composer
Ludwig van Beethoven Quotes
German
Composer
Michael Giacchino Quotes
American
Composer
Pauline Oliveros Quotes
American
Composer
Ramin Djawadi Quotes
German
Composer
Richard Wagner Quotes
German
Composer
Ryuichi Sakamoto Quotes
Japanese
Composer
Stephen Hough Quotes
British
Composer
Stephen Sondheim Quotes
American
Composer