A Quote by MF Doom
Doom is a classic supervillain, akin to the Phantom of the Opera. It's not about revenge so much as, like, 'I'm back - now watch this!' It all boils down to the music. The mask is a slight theme for people to enjoy, and it adds mystery.
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Even when I rehearse down in the bowels of the Metropolitan Opera, you can't help but think why The Phantom of the Opera was inspired by what happens in the bowels of the opera house.
I'm happy that now we reveal something about the true Israel, because, you know, now it's Purim, when all the Jews putting mask. And once, we used to have a liberal mask. The most famous mask now in Israel is the mask of a soldier who murdered in cold blood a wounded prisoner of war. Those are the mask that most of the Israeli kids now are using. So, now, when the mask and the true is the same, maybe it's time for Democrats here to stop supporting Israel, if they care about Jews.
It's not that big a mystery about types. It's not even that big a mystery why so many people are picking up on things now. It's like we were talking about the primitive thing before and all that. Nothing has really changed much. The things that have changed are like we're on the noon now. There are more buildings now. But we're still basically two monkeys sitting here.
I don't think I'm cut out to be a supervillain. I think I'd be a supervillain that would exercise some form of mind control. Rather than war, I'd force people to get on with each other and I'd force people to argue reasonably about things rather than be polemical. So I'd be a supervillain that makes everyone get on, but forcefully. There would be no choice about it. No free will.
In the Broadway world, I've always wanted to play Valjean in 'Les Mis', since I've already played Gavroche. I'd also like to play the Phantom of the Opera, but I haven't really thought about any film characters. You've got to have a whole lot of training for the Phantom role, vocally.
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.
I'm still wondering about the Phantom in the chair, you know at the end of Phantom [of the Opera], so I guess that's my sort of idiocy. I still haven't figured out how they do that.
Robert Duvall taught me years ago. He said, "You know theatre is not real. I don't like plays." You know, he doesn't like plays. And I agree with him in certain ways, you know. They can be fun. I don't mind going to see them. I went and saw Phantom of the Opera. I thought hey, that's cool. Look at the mask and all that.
The roughest make-up I ever wore was for 'Phantom of the Opera' because the phantom's face was all disfigured, and he's trying to pass in public so he can attend his beloved opera. That was make-up over make-up.
The 'Doom' thing is to be able to come at things with a different point of view. I decided the mask would just add to the mystique of the character as well as make Doom stand out. I though it'd be an easy way for people to see and differentiate between characters, sorta like when an actor gains weight for a role.
What I like in novels that I read and enjoy is interplay of theme: the mystery of how we seem to be so separate as human beings.
Every year I go to Broadway to see a musical - I like the music. I saw 'Mamma Mia;' I saw 'Les Miserables;' I saw 'Phantom of the Opera' like six, seven times.
Some of the opera houses in Italy had to be burnt down because people could neither see nor hear. They gave up seeing years ago, but they did enjoy the music.
'The Phantom of the Opera' is about love. It's as simple as that.
Growing up as a classical musician, you're taught a lot about outreach and about how people aren't being taught music in school. But you don't have to study music to like it. And a lot of the music that people like - be it jazz or rock or opera - is stuff they haven't studied.
Jazz is the music of the body. The breath comes through brass. It is the body's breath, and the strings' wails and moans are echoes of the body's music. It is the body's vibrations which ripple from the fingers. And the mystery of the withheld theme, known to jazz musicians alone, is like the mystery of our secret life. We give to others only peripheral improvisations.
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