A Quote by Jon Champion
Victor Hernandez, like an orchestral conductor directing his troops...
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I conceived of an instrument that would create sound without using any mechanical energy, like the conductor of an orchestra. The orchestra plays mechanically, using mechanical energy; the conductor just moves his hands, and his movements have an effect on the music artistry.
A man gets on a train with his little boy, and gives the conductor only one ticket. 'How old's your kid?' the conductor says, and the father says, 'He's four years old.' 'He looks at least twelve to me,' says the conductor. And the father says, 'Can I help it if he worries?
Acting is just playing the violin in an orchestra. Directing is being the conductor.
I had come from an orchestral background, but I didn't really have any orchestral pieces for film.
Victor Stone's story is one of acceptance - of self and others. Also, accepting his father for the person he once was, absent from his life until he turned him into Cyborg. And acceptance of oneself in that he is both Cyborg and Victor Stone simultaneously.
I urge pupils when studying a work and in order to master its most important aspic, the rhythmic structure, or the ordering of the time process, to do just what a conductor does with the score: to place music on the desk and to conduct the work from beginning to end as if it were played by someone else, an imaginary pianist with the conductor trying to impress him with his will, his tempo first of all, plus all the details of his performance.
I did a film called 'Victor' that I'm really proud of! It was a period piece and the true life story of Victor Torres. I play his mom, and it's a very moving film.
I got to play with some of the best players in the game, from Victor Martinez and Travis Hafner and Grady Sizemore in Cleveland, to here with Ryan Howard, Chase Utley, Cole Hamels. Obviously, to Seattle with Ichiro and Felix Hernandez, and then to Texas with Josh Hamilton, Ian Kinsler, Mike Young. It was a great experience. Without being traded I never could have gotten to do any of that.?
I prefer it when the conductor follows me. It is more difficult to work with a conductor who does not listen - even if I understand that sometimes it makes sense when one person is ruling everything. But for bel canto, I have to have a conductor who listens and supports me.
I don't like to hurry. I'm not a conductor of the fast, fiery romantic type. I prefer Bruckner, with the sincerity of his musical language and the huge time spans in which his ideas develop, to Mahler, with his hysteria and self-indulgence.
Victor Vigny: It is like the old fairy tale. The boy saves the princess; they fall in love. He invents a flying machine - along with his dashing teacher, of course. They get married and name thier firstborn after the aforementioned dashing teacher. Conor: I don't recall that fairy tale from the nursery. Victor Vigny: Trust me, It's a classic.
The most important thing for the conductor is that he or she listens. Her listening will make things sound a certain way. If the conductor listens well, the musicians listen each other better. The conductor can in effect impose a certain kind of listening for everybody.
Perhaps the chief requirement of [the conductor] is that he be humble before the composer; that he never interpose himself between the music and the audience; that all his efforts, however strenuous or glamorous, be made in the service of the composer's meaning - the music itself, which, after all, is the whole reason for the conductor's existence.
Our troops are the best in the world. I have absolute confidence in the ability of the troops who are here, or additional troops, to do their part.
The orchestra confides in me about their music director or their conductor, and I've never seen a conductor that's been liked by everyone.
A conductor can do wild things which can feel forced, but if you're directing from within the orchestra, you can't do that, things have to feel natural.
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