A Quote by Robert Ashley
If a piece of music is under three minutes long, it's rock. Over three minutes, it's classical.
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'Cause a musician, you can't tell me, "I've got this message I want share with the public," and it's three-and-a-half minutes long. That's not it. If your message is only three-and-a-half minutes long, then we got nothing else to talk about. Because life is more complex than three-and-a-half minutes.
If I play two minutes, three minutes, 20 minutes, it don't matter to me. As long as we win.
You read about these oyster-shucking contests: Somebody did 100 oysters in three minutes, three seconds. I'm lucky if I can open one in three minutes, three seconds.
I take 10 minutes. I focus on what I'm most grateful for. Then I do a little prayer for three minutes, a blessing within myself through God, and then out to my family and friends and all those I serve. Then my last three minutes are the three things I want to achieve most. At the end of 10 minutes, you are wired. Everything in your life gets filtered through that.
She let herself love me for three minutes. Can three minutes last forever? I ask myself, but already know the answer. Probably not, I reply. But maybe they last long enough.
Three minutes thought would suffice to find this out; but thought is irksome and three minutes is a long time.
I meet a person, and in my mind I'm saying three minutes; I give you three minutes to show me the spark.
The last great unknown, in terms of physiological training, is the optimum length of a piece. Is three minutes enough? Is ten minutes too much? No one knows. Perhaps someday the question will be answered-we'll find out that thirteen minutes is the perfect length for a training piece when preparing for a 2000 meter race. Until then, coaches will continue exploring the whole scale, up and down, from thirty seconds to sixty minutes and more, in hopes of capturing the optimum time.
It's really not that hard. If I do a Tonight Show, it's six or seven minutes. If I do a concert, it's 90 minutes. If I do an interview, that's 15 minutes. So by the end of the day I've done three hours worth of work.
I love that sense of change that you'd get in pop music every three minutes, every four minutes.
Three-quarters of directors waste four hours on a shot that requires five minutes of actual directing. I prefer to have five minutes' work for the crew - and keep the three hours to myself for thought.
You see a lot of sketch variety shows where each segment is one joke that they repeat over and over and over again, and the sketches are always three or four minutes too long.
If I want to say I'm a man for three minutes, then be it: I'm a man for three minutes.
YouTube, as longer form, the content you make there has to keep you entertained for three minutes - or five minutes.
I did the twenty-three-hour Nose route to the top of El Capitan in eighteen hours and twenty-three minutes, I can get over this.
Another way of working is setting deliberate constraints that aren't musical ones - like saying, "Well, this piece is going to be three minutes and nineteen seconds long and it's going to have changes here, here and here, and there's going to be a convolution of events here, and there's going to be a very fast rhythm here with a very slow moving part over the top of it." Those are the sort of visual ideas that I can draw out on graph paper. I've done a lot of film music this way.
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