A Quote by Luka Sulic
People don't think of cello as a rock instrument, really, and we want people to know all the possibilities that the cello can offer.
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I keep saying if I ever get a good amount of quiet time that I want to learn to play cello. It's a very warm instrument. The tone of the cello and the movement - I don't know what is; I love it so much.
We wanted to make a powerful cello sound in order to show to the world the possibilities of the cello and to use it in a different way than the classical way they are used to. We wanted to play something exciting, something crazy, something to draw younger generations to this great instrument.
I started to play noise on my cello because I felt a deep personal connection to it. I mean, I still love all the beautiful sounds of the cello as much as anybody but it's only when I play certain sounds I know that the cello really presents who I am; not my emotions but who I am as a person.
We knew we wanted to have our own tone for the show. And then the big instrument that actually we came up with was the cello. It has a big range. It can play really low. It can play high. And it has a dark sound, and 'Game Of Thrones' is obviously - it's a dark show, and the cello became the featured instrument.
I'd studied piano first and switched over to cello when I was about seven. I played mostly chamber and solo classical music. I got really involved with rock music when I was a teenager. I wired up my cello.
The cello is a hero because of its register - its tenor voice. It is a masculine instrument, whereas the violin is feminine because of its soprano pitch. When the cello enters in the Dvorak Concerto, it is like a great orator.
I guess I'm interested in pushing the boundaries of the cello without giving up on the idea of playing the cello, if that makes any sense. I have no real interest in putting the cello through different effects to make it sound like a guitar or other instruments.
It is the closest instrument to the human voice, and the things you can do on the cello... there are endless possibilities.
It has endless possibilities, and but what we do with our arrangements, we move the borders of cello playing and discover new ways of new techniques of cello playing.
People tend to eat through the cello. They tend to take out the things that make it beautifully cello-y sometimes.
The cello is such a versatile instrument. It can rock like the hardest rock guitar, and it can sing like the human voice. We couldn't do what we do without the classical training. It's a hard instrument to play. There are no frets, and it takes finesse and technique to play.
We were never happy with the way cello was recorded, and we wanted to experiment in the studio to make the cello rock as much as possible. On the second album, we had great help from Bob Ezrin, who helped us develop our sound even more.
If we just stick to one kind of music, our creativity is limited. We wanted to extend the audience for the cello, especially the younger people, and to show them how cool and how powerful and how diverse the cello can be.
I particularly enjoy cello music because our daughter plays the cello. I have listened to her practice for so many hours that I am familiar with the music written for that instrument. I am also fond of the popular music of the 1930s because my future husband and I danced to it so many Saturday nights when we were in college.
The cello looks like a woman to me. And, you know, the curves. And so I am in a way, and it's funny to admit this, I am sexually attracted to the cello, the curves really get me. So as I watched him play, you know, Yo Yo Ma is sort of making love to a beautiful woman.
I played tennis. My older brother, Joseph, was a cello player, and I played the cello, but he was better than me at the cello, and he was also a better tennis player than me, so I was always like, 'I wish there was something that only I did!'
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