A Quote by Jonathan Levine

I have about 100 gigs of music, and I'm always going through thinking about what song I can match to a scene and all that. — © Jonathan Levine
I have about 100 gigs of music, and I'm always going through thinking about what song I can match to a scene and all that.
When I'm singing a song, I'm in that song, and I'm thinking about what emotions I should bring to the song. Voicing a character was very similar. It was high energy, and I had to really think about the emotion of what was going on in the scene.
When I'm playing music I'm usually not thinking of surfing, just because I'm usually thinking about the chords and the lyrics, and sometimes that messes me up 'cause you'll start thinking, "Wait, how am I doing this?" But when I'm surfing, I'm usually thinking about music - whether it's an idea for a new song, or just singing a song in my head.
My thought process when I'm on the court is always thinking about getting better, and thinking about how I'm playing. Thinking about it as a process, as the big picture and what I need to work on, instead of being close-minded and thinking, 'I'm so nervous and have to win this match, if I don't, it'll be the worst.'
When I create a song, I immediately think about what I'm going to wear when I perform that song. I think about the music video treatment and about how I'm going to look on stage when I perform the record. The connection is so obvious that it's a single package. An outfit, to me, is almost a tool to express the music.
I think music is an intuitive force. It's this beautiful wave that connects all of us and inspires us, and I think music has the ability - when you listen to a song, you're not immediately thinking about the lyrics or what's going on in the mind of the writer, you're feeling the song.
have a much harder time writing stories than novels. I need the expansiveness of a novel and the propulsive energy it provides. When I think about scene - and when I teach scene writing - I'm thinking about questions. What questions are raised by a scene? What questions are answered? What questions persist from scene to scene to scene?
You are hearing this song, and you're 16, and it's a song about love, or a girl. And then maybe there's a girl at school that you like. So you're going to be thinking about that girl. That song is sort of about that girl. The songwriter doesn't know that girl, obviously. He wrote it for something else. But there's the specific meaning with the universal again.
My music does say a lot about me and what I went through. All the songs are about things I have gone through and what I am thinking. I wrote about my family, friends and boys, of course, and about life.
Thinking about making a love story without music was really frightening, Sciamma admitted. Because every love story we know, we think about 'Titanic' we think about the music, we think about 'Gone with the Wind' we think about the music, we think about 'E.T.' we think about the music, and every love story has its own tune, 'That's our song.'
Well, what's interesting, I try not to think about the radio when I'm writing a song. I want people to love the song, and that means it might not be exactly thinking about the radio, but it's thinking about your audience and saying, 'I want people to like this song after it's done.'
I always say this about my music, and music in general: Music is like a time capsule. Each album reflects what I'm going through or what's going on in my life at that moment.
I never cared about making one coherent masterpiece with a conventional narrative. I always wanted my movies to have images falling from all directions in a vaudevillian way. If you didn't like what was happening in one scene, you could just snooze through it until the next scene. That was the thing about vaudeville: You didn't have to worry about the beginning and ends of these things.
One great thing about my mom, about the business, is that she has a really great head on her shoulders about everything and always has been 100 percent about the music and not about the other junk.
What I love about 'Midnight Train' is that it's a song about a journey, but the music actually takes you on that journey. It feels like you're moving through the whole song.
This thing that I do with caring about the message in my music, it's not separate from my work as a commercial artist; they're totally one and the same. I'm always going to be thinking about what my voice means.
If you are relaxing and subconsciously thinking about your coming race, you are going to perform at just about 100 percent efficiency.
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