A Quote by Mike Figgis

The power of sound to put an audience in a certain psychological state is vastly undervalued. And the more you know about music and harmony, the more you can do with that.
Speakers find joy in public speaking when they realize that a speech is all about the audience, not the speaker. Most speakers are so caught up in their own concerns and so driven to cover certain points or get a certain message across that they can't be bothered to think in more than a perfunctory way about the audience. And the irony is, of course, that there is no hope of getting your message across if that's all the energy you put into the audience. So let go, and give the moment to the audience.
From harmony, from heavenly harmony, This universal frame began: When nature underneath a heap Of jarring atoms lay, And could not heave her head, The tuneful voice was heard from high, 'Arise, ye more than dead!' Then cold, and hot, and moist, and dry, In order to their stations leap, And Music's power obey. From harmony, from heavenly harmony, This universal frame began: From harmony to harmony Through all the compass of the notes it ran, The diapason closing full in Man.
But when you are doing an animated voice, it has to have more energy than usual or it falls flat and doesn't work. For myself, I found that I had to put myself in the same physical or emotional state as Sid, in order to make that voice sound alive and authentic. So if there was a scene in which he was running, I would be running beforehand to sound out of breath. That's important because the audience can tell intuitively if it does not sound real.
Just as the cultures, lifestyle and food differ vastly from our own, music for the Tamil/Telugu audience is vastly different from that of Mollywood.
Even if you have a big tune, live crowds can get sick of it. It's not just about the song but also the staying power and if people have connected with it in a certain way. I know that the tracks I put more emotion and depth into are the ones that have the staying power in clubs.
The art of remaining consistent is keeping your ear to the street and the new music. Embracing the culture for what it is. You can't get a nice heat wave and then forget about the people. The more you put out music, the more strength and power you possess.
Well you can see that I'm still in motion. It happens that you share the music with the audience. That is the best happiness an artist can have. I'm not alone on stage but with a group of musicians. So the more the music is successful, the more the audience feel happy about the music. It's the responsiblity of an artist to make his fans happy. That is proposition. I'm always talking about proposition.
When a man is not disposed to hear music, there is not a more disagreeable sound in harmony than that of the violin.
Fifth Harmony as a group represents more confidence, more girl power, more unity. They're anthems, as opposed to confessional songwriting about one person's life when there are five individual women.
I imagine that as contemporary music goes on changing in the way that I'm changing it what will be done is to more and more completely liberate sounds from abstract ideas about them and more and more exactly to let them be physically uniquely themselves. This means for me: knowing more and more not what I think a sound is but what it actually is in all of its acoustical details and then letting this sound exist, itself, changing in a changing sonorous environment.
If we look more closely, we see that any violent display of power, whether political or religious, produces an outburst of folly in a large part of mankind; indeed, this seems actually to be a psychological and sociological law: the power of some needs the folly of others. It is not that certain human capacities, intellectual capacities for instance, become stunted of destroyed, but rather that the upsurge of power makes such an overwhelming impression that men are deprived of their independent judgment, and...give up trying to assess the new state of affairs for themselves.
I love music, but more for the context within the music than a certain sound.
The wonderful thing about rock music is even if you hate the other person, sometimes you need him more, you know. In other words if he's the guy that made that sound, he's the guy that made that sound, and without that guy making that sound, you don't have a band, you know.
In the American political lexicon, 'change' always means more of the same: more government, more looting of Americans, more inflation, more police-state measures, more unnecessary war, and more centralization of power.
I know I have patterns and I've always tried hard to avoid them. There are definitely certain things in my music, if I'm looking back, "Well, that was a period where I was experimenting with a certain kind of chord structure or a certain kind of sound." I've tried really hard, but I'd be hard pressed to tell you what that sound, what that tangible sound of "me" is.
What I learned then was there is a certain power in a three piece band. The more people you put on that stage, the more diluted it becomes.
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