A Quote by Michael Tilson Thomas
Being a conductor is kind of a hybrid profession because most fundamentally, it is being someone who is a coach, a trainer, an editor, a director.
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Being a director or a conductor is a balance of many things. And to do it right is a very difficult tightrope to walk. I've come to the conclusion that there's really no way to be one hundred percent popular as conductor.
But for me, being an editor I've been an editor of all kinds of books being an editor of poetry has been the way in which I could give a crucial part of my time to what I love most.
It may help to understand human affairs to be clear that most of the great triumphs and tragedies of history are caused, not by people being fundamentally good or fundamentally bad, but by people being fundamentally people.
Most of the great triumphs and tragedies of history are caused not by people being fundamentally good or fundamentally evil, but by people being fundamentally people.
With 'Moreau,' it's been particularly confusing because I started out being the writer of the screenplay and then trying to be the director, then being moved from being the director and having to become the dog extra, it makes some kind of sense to suddenly become a character in the story.
You can give the greatest performance possible, but if you don't have a director who's pointing the camera in the right direction and an editor who's editing it properly, it doesn't matter what you do. The director and the editor are the most important people. Not the actors. Sometimes the writer is important. But if you don't have a good director, you can't have a good production.
I never thought being the producer was being the dictator. It means being the director and being the coach. It's a way of keeping everybody focused on the goal, and also having final say. Everybody can be in the same car, but somebody has to drive.
What appeals to me about an American music directorship is the involvement of the conductor with the orchestra and the community. I think that's a fantastic thing. In Europe, being principal conductor means merely that you're the person who does most of the concerts. For me, that simply isn't enough.
I would like to be the kind of coach who gets text messages and phone calls from players years after I coach them, because we had something that is bigger than just being on the floor.
The most important thing for the conductor is that he or she listens. Her listening will make things sound a certain way. If the conductor listens well, the musicians listen each other better. The conductor can in effect impose a certain kind of listening for everybody.
One of the good things is the relationship between director and editor used to be more contentious. Studios used to leave directors alone more during the post production process and now they're clamoring to get in. So, the director and the editor end up teaming up sort of against the studio to fight what they're doing and you lose the creative tension that you used to have between an editor and a director.
I think that being an editor, someone who works with words, is very good training for being a translator because it trains you to be attentive to words in a very specific, very concrete, very literal way.
The profession of film director can and should be such a high and precious one; that no man aspiring to it can disregard any knowledge that will make him a better film director or human being.
The orchestra confides in me about their music director or their conductor, and I've never seen a conductor that's been liked by everyone.
I love playing a role, anything that's dramatic. I'm enjoying living that kind of life: being someone else, getting to die, being a temptress. I enjoy being someone else on stage.
I can tell you as a leader of a party that I'm fundamentally opposed to violence, fundamentally opposed to any innocent lives being taken, fundamentally opposed to any violence being perpetrated against people.
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