A Quote by Oneohtrix Point Never

My friends and I have often discussed the plausibility of a connection between qualitatively bad music and quantifiably successful music, often citing the example of Candlebox and their paradoxical influence on culture.
G.O.O.D. Music is on top because G.O.O.D. Music is the culture. When you think of, you know, just every aspect from music, influence, fashion, art level. If it's not G.O.O.D Music, then it's somebody who was influenced heavily by G.O.O.D. Music.
I'm happy to say that I have not been fired off a film. The score is usually the last thing to be done. So a lot lands on the scores shoulders. A lot of problems that seem to have nothing to do with the music gets blamed on the music , because it's relatively cheap to change, where as a reshoot etc is not. Music is often expected to help or fix bad cuts, bad acting, bad filming, bad timing, you name it.
The work of Liszt I most admire is the music he wrote toward the end of his life. This is often music of tremendous inventiveness. The music seems to be seeking something. It tends to be restless, unpredictable, often very sad.
There should be no boundaries in your relationship with sound. Often it's not about the music itself but the context in which you hear the music. For instance, listening to a piece of classical music in a film you love often changes your perception of it entirely.
Not every one knows of the connection between the Indian and the Spanish music, but if they do they seem to have a real reverence for that connection. A love point in music.
There's an ancient connection between movement and music. Most languages don't make a distinction between the words 'music' and 'dance.' And we can see that in the brain. When people are lying perfectly still but listening to music, the neurons in the motor cortex are firing.
I have never acknowledged the difference between serious music and light music. There is only good music and bad music.
With electronic music it's often a little more hidden - the relationship between gesture and sound - which makes it confounding for audiences. But the ingredients of electronic music are the same ingredients of nonelectronic music.
When we work on a piece of music, we'll often read the biographies of the composer and learn about what was going on historically and artistically. But I believe that the connection to a piece of music is something much more personal and mysterious than all of these bits of information.
We often feel sad in the presence of music without words; and often more than that in the presence of music without music.
At a certain point, I started playing improvised music. After a couple of years of this, I did a little bit of analysis and found most improvised music the kind I was listening to at least, which was mainly European to be as, if not more, formulaic than any other kind of music. For example, improvised pieces would often begin and end in the same way.
Music in Africa often contains messages. Music in Senegal, and Africa, is never music for music's sake or solely for entertainment. It's always a vehicle for social connections, discussions and ideas.
In music, what is very important is temporality of space and length, based on the breathing space the director gives the music within the film, by separating the music from various elements of reality, like noises, dialogues... That's how you treat music properly, but it doesn't always happen this way. Music is often blamed, but it's not its fault.
If I were not a physicist, I would probably be a musician. I often think in music. I live my daydreams in music. I see my life in terms of music.
There was one man who was interested in the color of music, the connection between light and music, and that was Einstein.
Good music often starts in underground culture and then comes to the surface.
This site uses cookies to ensure you get the best experience. More info...
Got it!