A Quote by Joel McCrea

People say I'm a one-note actor, but the way I figure it, those other guys are just looking for that one right note. — © Joel McCrea
People say I'm a one-note actor, but the way I figure it, those other guys are just looking for that one right note.
You need particular note or rhythm in the symphony to be that minor key, or that sharp key or major chord. In musical terms, I try to hit the right note. But not alter the score of the music, just emphasize the note correctly.
If I have to hold a note for a long time, I imagine it as moving and spinning, for the note has to have life. In a way, a singer actually refreshes a note with every beat that it's held.
I don't remember that I copied any guitar player note-for-note. But I remember copying Charlie Parker note for note.
Lots of kids when they get their first instrument hammer away at it but they don't realise there are so many levels of dynamics with a guitar. You can play one note on a guitar and it really gets to people if it is the right note in the right place played by the right person.
You can alter movie singing so much because you go into the recording studio and, just technology for recording has gotten so good, you can hold out a note and they can combine a note from take 2 and a note from take 8.
Once you start playing a piece, there is a connection between every note. You cannot say, 'I will not concentrate on this note.' You cannot ignore things the way you do in the rest of your life.
For a second we just stand there in silence. Then, suddenly, Alex is back, easy and smiling again. “I left a note for you one time. In the Governor’s fist, you know?” I left a note for you one time. It’s impossible, too crazy to think about, and I hear myself repeating, “You left a note for me?” “I’m pretty sure it said something stupid. Just hi, and a smiley face, and my name. But then you stopped coming.” He shrugs. “It’s probably still there. The note, I mean. Probably just a bit of paper pulp by now.
I make singers sing every note fully and wait till they hit the right note.
My driving philosophy about making music is that you can reduce it all down to one note if that note is played with the right kind of sincerity.
Humans are imperfect. That's one of the reasons that classical and jazz are in trouble. We're on the quest for the perfect performance and every note has to be right. Man, every note is not right in life.
All you have to do is play one note. But it needs to be the right note.
Secular music, do you say, belongs to the devil? Does it? Well, if it did I would plunder him for it, for he has no right to a single note of the whole seven. Every note, and every strain, and every harmony is divine, and belongs to us.
I know some artists who come out of country music and the three sessions a day work ethic where you walk in, and you're told you play this note, this note, and this note, and you don't vary it. I know that works great for some people. It wouldn't work for me.
It's not the note you play that's the wrong note - it's the note you play afterwards that makes it right or wrong.
The amazing thing about the cistern is that, if you're improvising in a dead room, you play your note and then you're left with your thoughts and you have to be really quick on your feet and be able to move through many different musical thoughts seamlessly. Improvising there is just, like, you play a note and then you had at least ten seconds to think, "What would be the perfect accompanying note to that?" And then you could add that note. You can just build this puzzle that was really amazing.
Lilly was not crazy. She left a serious suicide note. 'Sorry,' said the note. 'Just not big enough.
This site uses cookies to ensure you get the best experience. More info...
Got it!