A Quote by Sam Esmail
Music is everything to me. It's the heart and soul of a movie or TV show to me because it can be such an injection of tone, and I think tone is everything to a story.
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You have more of an opportunity than people think to impact a game through the tone that you can set. You can't control everything, setting that tone is important.
Even if nobody's singing, just when you talk, you're singing. I'll meet somebody and say, "Oh, I'm tone-deaf." I say, "You're not tone-deaf, because if you were tone-deaf you would speak like that. But you're 'Oh, I'm tone-deaf.' You already sang a song to me."
In order to produce learned fear, you take a neutral stimulus like a tone, and you pair it with an electrical shock. Tone, shock. Tone, shock. So the animal learns that the tone is bad news. But you can also do the opposite - shock it at other times, but never when the tone comes on.
Tone is everything in TV.
The interaction between the two matters, but to me, each doesn't really exist independently of the other, so I'm not ever faced with a situation where the tone is wrong for the story, or the story wrong for the tone. They are two parts of one thing.
Yeah, I mean, I think I'm obsessed with tone in the movies. Tone has always been the main thing that I go after with a movie.
A lot of times on our show, 'Shadowhunters,' we have excuses to dawn some kind of sexy black leather attire under the excuse that we're going to fight demons, but it's all part of the tone of the piece and the tone of the story.
Push-ups are seriously the best way to tone your arms - and they tone your abs at the same time! I like to do them when I'm home watching TV or listening to music.
When you're directing an ongoing series, the tone has already been set. So a director will come in and fulfill that tone - reinforce the characters and their behavior. The challenge is to find unique ways that you can visually tell the story while keeping the established tone and the pace and the characters.
If you keep everything in the same palette of tone-on-tone neutrals, even a laid-back outfit of a slouchy sweater, jeans, and sneakers gives you a longer, leaner look.
The elements of a good story are most definitely details, little bitty details. That does it, especially when you're describing, when you're setting the scene and everything. It's like you're painting a picture, so details are very important. Also, the music gotta be right. The music can really set the tone for the story and let you know what the story is gonna be about, but definitely, it's the vibe in the place where you at and the detail.
It's the same assignment on every part: you want to create a real world, and the tone of it is a little different on each movie. You have to find your tone and work within that to make it as real so the audience can really engage in the story you're telling.
Words ride on the energy of tone, its warmth or coldness; think of tone as the music of how words are expressed. You want this music to be soulful, whether you're giving sweet talk or tough love.
When you read Chekhov, everything has an even gray tone. When you read 'Family Life', everything has an even white tone. It is almost like when you paint on paper, and you can see the paper through the paint.
You have to find the tone of the piece and modulate that. There are ways to indicate that - I try to incorporate the biggest range I can within the story, going from humorous to serious without it being jarring. That's the hardest part, to keep that balance. It requires being constantly aware of where you are in the story. You can't really do that in a movie: You can't slightly modulate the tone by the way the character's eyeballs look in one certain scene.
I just see many, many untruthful things. I see tone, the word tone. The tone is such hatred. I'm really not a bad person, by the way.The tone is such - I do get good ratings, you have to admit that.
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