A Quote by Rene Auberjonois
The writers and producers always have an idea, then they cast the role and the instrument starts to tell them how to play the music.
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But when I did think about it and looked at the whole package - the producers behind the show, the writers, the cast I would be working with - I would have been a fool to turn it down just because the role for me was another gay role.
The basic idea of a hyper instrument is where the technology is built right into the instrument so that the instrument knows how its being played - literally what the expression is, what the meaning is, what the direction of the music is.
Most producers today are little bedroom producers and then they get their record and get signed by an agency and go on the road, but they have no idea about DJ-ing. They have no culture about where that music comes from and they just stand behind the booth, put their hand in the air, and play all the hits.
My first instrument was my voice. I was always singing and writing melodies when I was a little kid. I just sort of taught myself whatever was around. If there were instruments around, I'd play them. I always liked the idea of not being shown but coming up with my own energetic connection to the instrument.
Oh, I'm going to miss everything. It's been the most amazing and significant job of my life obviously and I'll always have it near and dear to my heart. I'm so grateful and appreciative that I worked with the best crew and the best writers and producers and cast and I love them all.
I like to play this game where I ask people to count gay pop writers and producers they know. Everyone's always like, 'Oh, there are plenty!' But we always end up counting them on one hand.
Learning to play old instruments was a challenge. How do you learn an instrument no one has played in hundreds of years? The ones that are used today, I was adamant not to hear anyone else play that instrument. I want to approach them as a child and on the basis of each instrument. I wanted my voice to come through, not someone else's.
Generally, that's what happens-a fundamental rotting of the idea. They woke up with the wrong idea. It's just like music: If you don't have an innate love or calling for it, then no matter how much you study or how well you can play by looking at the score, it doesn't mean that you're going to make really good music.
Don't be lazy. Learn your instrument and the kids should be learning that stuff. We have to get back to the musicianship of the music. It's called music, so at some point somebody has to learn how to play an instrument.
The first instrument I had was made in the late '70s. Back then they had basically one tuning. I shifted slightly away from that tuning right away (to what is now called the Baritone Melody Tuning), because I wanted more string overlap between the two sides.The instrument I currently play has an active pickup system, Fret Rails, a fully adjustible bridge, adjustible truss, Flaps adjustible nut. Even with all of these advances, I'm always struck when I play the older instrument how good they were even then. Emmett's always been great at implementing his ideas.
In order to even begin to learn how to play his instrument, it takes the guitarist weeks to build calluses on his fingertips; it takes the saxophonist months to strengthen his lip so that he might play his instrument for only a five-minute stretch; it can take the pianist years to develop dual hand and multiple finger coordination. Why do writers assume they can just “write” with no training whatsoever-and then expect, on their first attempt, to be published internationally? What makes them think they're so much inherently greater, need so much less training than any other artists?
Usually now a song starts just in my head with a melody or a lyric idea coming first.Then typically I'll go to a guitar, unless it's a instrumental then I'll usually build it on a keyboard instrument.
Ian Fleming was my cousin, and he wanted me to play Dr. No, but by the time he got around to remembering to tell the producers, they'd already cast someone else. Spilt milk!
I play an instrument that has four strings, and I'm still trying to get it right. What I've tried to do in the process of playing these four strings is to try and understand the people I meet, the stories they have to tell. And then become an advocate for them and their stories through music.
Films with female protagonists don't attract many eyeballs. Most of them are perceived as feminist films. If Bollywood starts giving women major roles in entertaining movies, then the audience, too, will open up to the idea of watching commercial films in which the actresses do more than just play the role of the hero's love interest.
My approach to making music has always been making ideas and developing them. Sometimes I develop them all the way by myself. The other part of development is I will work with my friends who are just some of the best producers in the world, give them an idea.
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