A Quote by Josef Albers
Whether something 'has color' or not is as hard to define verbally as are such questions as, 'What is music?' or 'What is musical?
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We're still expected to color within the lines of accepted femininity, and women who step out of those lines are usually attacked, whether verbally or physically.
Whether it's animated, whether it's live-action, whether it's Broadway, whether it's television, a musical is a musical is a musical. So, pretty much, you approach the songs in pretty much the same way.
Running through a lot of traditional photojournalism there is an overwhelming sense of... pictures that say something, that define something. I'm not trying to define things. I'm trying to explore things. I'm trying to ask questions.
I guess I think of a musical as something in which the music is sort of like the engine of the piece - whether it is in the theatre or in film.
For some reason, people find me funny. It's quite hard to define why a thought is funny. It's even harder to define why a person would be funny. It's a word that I can't define at all. But whether I know quite what it is or not, I seem to be it.
Music is one of my big interests - I once had a rather fanciful ambition to be a singer - and of course music is philosophically fascinating. What it is for music to express emotion strikes me as one of the most difficult questions - it's hard to say what it precisely means, although it plainly does mean something. But whenever I have tried to say something about this, it has come out as either banal or pretentious or both.
I would like to think of Badfinger's music as mood music. Something with a bit of feeling, whether it's hard or soft.
I'm not a poet. I'm not up onstage to get something off my chest. I'm making musical statements, or, most of the time, musical questions for people to figure out, and I'm not going to get in the way of that.
Too often we forget how powerful we are as individuals to shape how other people see the world. Each one of us constantly broadcasts to other people - whether consciously or unconsciously - verbally or non-verbally - and those messages influence their brain.
Whether it's animated, whether it's live-action, whether it's Broadway, whether it's television, a musical is a musical is a musical. So, pretty much you approach the songs in pretty much the same way. The difference might be that in a film you have a close up. On stage you don't. So there are more songs on the stage because the songs are kind of the close up.
I felt like my favorite writers have almost musical hooks in their work, whether it's poetry or a hook at the end of a chapter that makes you want to read the next one. And I think that my favorite writers definitely have something musical about what they do, in saying something so relatable and universal and so simple.
If you go to any fight, whether MMA or boxing, there's a whole musical soundscape to these events. There's pre-event pump up/psych-up music, there's fighter introductions, there's between rounds, so my musical needs are really diverse.
There are those of us who believe that under certain conditions the cruelest thing you can do to people you love is to force them to live. There are those of us who define living not by whether the heart beats and the lungs lift but whether the spirit is there, whether the music box plays.
There are certain sounds that I've found work well in nearly any context. Their function is not so much musical as spatial: they define the edges of the territory of the music.
To define the era we live in is very difficult. How do we define it? We define it by music.
Commitment is making a choice to follow through or to honor. Engagement and guarantee - we all love guarantees in life. Making a commitment, whether it's for something like climate change or to my family, or even to my fans - what that means to me is, whether on paper or verbally or spiritually, making a promise to guarantee that I will fulfill whatever agreement we have.
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