A Quote by Robert Lopez
It's so important, after a song is finished, to go to sleep and listen to the song with fresh ears the next day. It's sometimes a traumatic event. And playing it for someone else for the first time - that is the most nerve-wracking thing of all. But we learn so much.
Related Quotes
Most of the time, I can't listen to the song after the video's done. Sometimes I'll hear a song that I've worked on at a restaurant or on the radio, and I'll have this visceral physical reaction.
Music is very transporting. I'll hear a song for the first time and I rarely listen to the lyrics. I picture that song playing as a soundtrack to a movie, or even just in the background of someone's life. This all sounds weird, but I have an active imagination, and music opens the floodgates of that area of my brain.
We have a song, 'Welcome to the Family' - we realized for the first time in our lives that people go through this every day around the world. There is someone very close to them that they're losing, every day. That song is, 'We know how you're feeling.'
It's of course important to mention that when DJing, I'm building my own story through the music. I'm figuring out what song to play next, what song to play after that, and how the two will blend together. How the emotion is going to develop from one song to another. So I first build that storyline.
The best thing we've learned is when you are attempting to write a full song, write a full song that day. When we first started, we would have great ideas, but there's something about a moment and a vibe that's being created in time that when you return to it, it sometimes works, and it sometimes doesn't.
A Song of the good green grass! A song no more of the city streets; A song of farms - a song of the soil of fields. A song with the smell of sun-dried hay, where the nimble pitchers handle the pitch-fork; A song tasting of new wheat, and of fresh-husk'd maize.
When we did the 'Titanic' theme, that song was everywhere. At the time we did it, it wasn't an old song. We didn't really listen to that song. We're not fans of the song. It was more about taking the song everyone knew and making it sound like a New Found Glory track.
I learn stuff from making music every time I go in the studio. I'm continuing to try to find new ways to play in a song or be in a song and have a positive impact on a song.
Sometimes playing TV can be really nerve-wracking, and I think I tend to handle that by trying to look at my band-mates as frequently as possible and ignore everything else.
When I go to a gig and I hear a song that I really like, a song that hits home to me or hits an emotional nerve, if I could ever recreate that for someone, that would be the ultimate goal.
My philosophy for producing a record is for everyone involved, including myself, to get out of the way of the song, and at the same time, listen to it as closely as you can, and listen to where the song wants to go.
I write in my sleep. I don't know how, but I'll work on a song, go to sleep and it's finished when I wake up.
The appreciation that we received after the release of the audio of 'Every Night and Day' is all because of Iulia Vantur. According to me as a composer of this song, she made this song sound very fresh.
I sometimes suffer from insomnia, and one of the first times it ever happened, I was like, 'I don't know what to do with myself,' so I started writing a song, and by morning, it was finished. It was about how I couldn't sleep... I was 14.
I sometimes suffer from insomnia and one of the first times it ever happened I was like, "I don't know what to do with myself," so I started writing a song and by morning it was finished. It was about how I couldn't sleep... I was 14.
Playing a song changes a song. Every night a song becomes something else on stage.
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