A Quote by Michael Bolton
It's understanding the intention of a composer that allows a producer and an arranger to make those moments speak.
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It's understanding the intention of a composer that allows a producer and an arranger to make those moments speak
[We need] someone like Don Sickler, who is an amazing trumpet player and who is also a publisher and amazing producer and composer and arranger. There's a lot of ways you can make a contribution.
But still there are moments when a brother and sister can lay down their instruments of torture for a moment and speak as civilized human beings and Bruno decided to make this one of those moments.
The Hour-Hand of Life --- Life consists of rare, isolated moments of the greatest significance, and of innumerably many intervals, during which at best the silhouettes of those moments hover about us. Love, springtime, every beautiful melody, mountains, the moon, the sea - all these speak completely to the heart but once, if in fact they ever do get a chance to speak completely. For many men do not have those moments at all, and are themselves intervals and intermissions in the symphony of real life.
I don't think a guy that really has no understanding about people, or has no interest in understanding people would make a good film composer.
My father, Kali Gannguli, is an arranger, composer and accordion player who has worked with Salilda whose songs I had grown up hearing.
The things that I have said when I was young and curious about whatever the subject matter was, I respect those - those are growing pains. Even if you make mistakes, I go back to those things, my not-so-great moments because those are my truest moments; those are my human moments. I'm not even mad at the things I said that were a little dicey.
Some people ask me what instruments I play, but usually I'll just say I'm more of a producer or a composer or songwriter - those are my strongest suits: arranging and composing.
If I'm on set and I'm in character, I'm not thinking like a producer. If I'm on set and I'm not in character, wardrobe and make-up, and I'm just coming on set for the moments that I'm not shooting, then I'm able to be the producer.
Every actor has their own process. For me, I really need to stay in the pocket. So, if I'm on set and I'm in character, I'm not thinking like a producer. If I'm on set and I'm not in character, wardrobe and make-up, and I'm just coming on set for the moments that I'm not shooting, then I'm able to be the producer.
Working as a producer, an arranger, and, in some cases, as a writer for some other people gave me a super different perspective.
Sometimes you're going to be inexperienced, naive, untested, and totally right. And then, in those moments, you have to make a choice: is this a time to speak up, or hang back?
I had a really nice association with Richie DeRosa, a great musician, a great drummer and composer and arranger. And I had a number of classes with him.
Even before I became a recording artist, I did other things in music. I was a teacher, I did studio work, and I was an arranger and a producer.
To make good films, you have to have a good relationship and good collaboration as composer-director, composer-editor, composer-production designer-actor because you're working with the actors on screen.
Those are the moments people remember at the end of the game: You make a big shot. 'Yeah, he made a big shot.' I feel like those are the moments I work for and make sure I'm always ready for.
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