A Quote by Pierre Schaeffer
The whole problem of the sound-work is distancing oneself from the dramatic.
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Every Bass Communion track is based on a single sound source. Increasingly I find that I'm really interested in taking a particular sound and it's almost like solving a problem. If I have a sound, the problem is how can I create a piece of music from this one sound source?
I do think, or rather I sense that there is a relationship - at least in my own work - between a dramatic structure, the form and sound and shape of a play, and the equivalent structure in music. Both deal with sound, of course, and also with idea, theme.
Because one believes in oneself, one doesn't try to convince. Because one is content with oneself, one doesn't need others' approval. Because one accepts oneself, the whole world accepts him or her.
Much of the research on the Nazi era makes a science out of distancing oneself from it or conjuring its demons. The conceit is that people were monsters then - as if they were completely different from people today.
In actual life it requires the greatest discipline to be simple, and the acceptance of oneself is the essence of the moral problem and the epitome of a whole outlook upon life.
The word translated, koan, it means a problem. But it's a very special problem. And to strip it down to the way it works, you are given a problem which has no rational solution. There is a contradiction built into it. One standard - one is this is the sound of two hands clapping. What is the sound of one hand clapping? And so on. All right, so the first thing is that it brings your rational mind to an impasse.
Music is the celestial sound, and it is sound that controls the whole universe, not atomic vibrations. Sound energy, sound power, is much, much greater than any other power in the world.
The whole world has praised India's efforts in dealing with the coronavirus pandemic. We will win this war by wearing masks, maintaining social distancing and cleanliness.
I work very hard on all my poems, but most of the work consists of trying not to sound as if I had worked. I try to make them sound as natural as possible, but within a quite strict form, which to my ears has a lot to do with musical rhythm and sound.
When Thug hears a song, he knows how the whole shape of the thing goes. He can nudge the whole frame to the left to make it offbeat and sound how he wants it to sound.
I can work a lot faster when I'm writing a screenplay than when I'm writing a play because, if I'm having a problem with a scene or something, I can just be writing it in a way where there's no dialogue, or find a way to make sound do the work that I want to do or a close-up do the work that I need to do.
It allows you to say things that sound very dramatic and get away with it. If you had characters in modern fiction say the same things as they're driving down the street in an Oldsmobile they'd sound ludicrous!
The inspiration for 'Human' came from a conversation. We stumbled upon this question: sometimes you think a problem is a problem when sometimes it isn't. And it takes you to have a little step back and realize you might be a bit dramatic.
Liberia is not at the center of a massive geopolitical game. Afghanistan is and has always been. The history is dramatic, the politics are dramatic, the landscape is incredibly dramatic.
The most difficult problem in personal knowledge, whether of oneself or of others, is the problem of guessing when to think as a historian and when to think as an anthropologist.
A film is a living thing. The screenplay is a guideline. You really need to have a good, sound script to know that you have a dramatic structure that's going to work thematically, and to know how one scene will got through another, and to get a sense of character.
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