A Quote by Marcel Marceau
Music conveys moods and images. Even in opera, where plots deal with the structure of destiny, it's music, not words, that provides power.
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I still the love classic period, but also the baroque period, and even 17th-Century music such as the music of Monteverdi. He's one of the greatest opera composers. He was the one who really started the opera.
Hildegard von Bingen conveys spiritual ecstasy, if we're talking of Western music. What bothers me about Western music is that it doesn't have an esoteric dimension in the way the music of the East has, whether it be Byzantine chant, the music of the Sufis, or Hindu music.
I was very young, maybe five. The opera was very... I was attracted to opera to the point that I think it's the reason I started to write music for films. I never studied. There are film and music school that teach you how to write music. I never studied that. But the influence of opera, which is a combination of storyline, visuals, staging, plus music... that was perhaps the best school I could have had. That's what gave me the idea of coming to Hollywood to write music for films.
My parents were opera singers. I didn't want to play opera because I wasn't good enough. I didn't want to play their music; I wanted to play the music that I wanted to play, and I'm so lucky that today I get to play that music, even though I don't like every song I write.
One of the first things I created was music for the Paris opera's ballet troupe. That was the first time that electronic music was played at the opera. I really like the relationship between the music and the choreography.
We're all affected by music. It has the power to inspire, uplift us, change our moods, and even alter consciousness.
I never liked opera growing up. I always liked chamber music or solo music even more than orchestral music.
Most music culture these days runs on systems and networks devised to deal with the aftermath of thermonuclear war. Music culture has a habit of using these moods and machines in creative, unintended ways.
I don't think that three minutes of music on a commercial record is going to bring paradise, but I feel like there is power in music and power in our words and power in what we put out into the world.
I have always loved music and singing, and I am open to listen to any type of music. Regardless of my mood, my heart is always set racing when I listen to opera. When I decide which music I want to hear, my choice is almost invariably an opera recording.
Back then people closed their eyes and listened to music. Today there's a lot of images that go with the music. A lot of music is crap and it's all commercial and the images are all trying to sell the record.
I wouldn't know anything about opera music if it wasn't for Bugs Bunny. That was my entire introduction to opera music. I wouldn't know anything about classical music if it wasn't for "Fantasia." They didn't have to do that stuff. They chose to base this ridiculous, funny, intriguing, creative story on this beautiful classical music. It's the combination of the high and the low that I thought was very cool. But I had no concept of it as a kid.
I was always into pop music, Destiny's Child, songs with catchy music. Even when I was writing when I was younger, it wasn't all about expressing myself; it was just about making fun music.
I've been making films with almost no dialogue (laughs), so sound and music become a very powerful character to tell the story. It's almost like with sound and music and images, it's your tool to tell the story, especially when I decide to structure the film in a way that usually goes against the conventions of the three-act structure which most films are made out of.
Myth is the system of basic metaphors, images, and stories that informs the perceptions, memories, and aspirations of a people; provides the rationale for its institutions, rituals and power structure; and gives a map of the purpose and stages of life.
I was never really interested in an operatic post, but I took on the Bastille because it seemed a unique opportunity to build an opera ensemble from scratch, and to deal with all the disciplines that go into opera - the music, the staging and the singing - in an interrelated way.
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