A Quote by Samuel Larsen

I've got a couple of bands that I'm working on. The one I'm really excited about, we're called London The Child. It's folky music and it's really cool. — © Samuel Larsen
I've got a couple of bands that I'm working on. The one I'm really excited about, we're called London The Child. It's folky music and it's really cool.
On Phantom... I listened to the music while I was reading the script. And it had just blown me away. I really... I was so excited about it. It's been a long time since I really got so excited about something.
There was a time when my taste in music was mainstream, for example - people like Jimi Hendrix - who I really based a lot of my inspiration on, was the most popular entertainer of his day. He was really number one. And bands like Led Zeppelin, The Beatles are really number one bands. But those days are very much done. I can't say that if I listen to the number one artist now that I get excited.
The music scene in Michigan is really folky and bluegrass, but my parents played a lot of disco. They really liked to dance.
When I got signed to the 'Fader' Label, they got really excited about having me as their new artist. They were promoting my music everywhere. Pharrell was one of the producers who wanted to work with me, so I was really lucky to be one of those people who got to work with him.
I think all of us, at some point early on in our lives, knew that we wanted to create music. We are still really young and sometimes we do feel like we have to prove were as great as all the rest of the bands -old and young. But we just do what we love and people seem to be really excited about it.
I was in rock music in London when it was the height of Brit pop, with The Kinks revival and Suede and Blur and Oasis, and all of those really great bands that were of a certain style. If I'd really been smart and commercially minded, I would have just got myself a blazer and some Stay Press and some Fred Perry tops, and just gone out and tried to do it like everyone else. Instead, I did this ridiculous thing of trying to do this music.
I took a private lesson, but it didn't really work out, so I went back to playing along with records. That's really the thing that got me into playing a lot - getting excited about playing along with my favorite bands like Zeppelin and Black Sabbath.
My playing music is strictly for fun. When I was in a band, I was really excited to talk about it since I had never really played music to that extent. It was never meant as something I would consider as anything more than having fun with my friends. But I think I would enjoy writing music for the movies that I'm working on.
My activities were centered around school and football and church and senior high fellowship, and I got together with a couple bands and started playing parties, proms, stuff like that. It was the music that really worked for me.
That's really the thing that got me into playing a lot - getting excited about playing along with my favorite bands like Zeppelin and Black Sabbath.
When I was young I wanted to make films and then I got into folk music when I was about 12, and started going to this folk club in Auckland. My dad [Barry Andrews] was in punk and post-punk bands, so I guess it was a side of music I hadn't really listened to before - the really narrative form of songwriting.
But it's funny, I really was quite introverted as a child. I just liked music, so mum and dad bought me a piano when I was seven - I actually got up to Grade Seven at the London College of Music on piano.
I studied music all the way through college, but as soon as I graduated from university, I got straight into London and got straight into film music. So really my experiences have been being around the orchestras in London and being around the people who work in film music.
When I was thinking about what we could do in terms of what production values of Broadway might be able to add to the show, I had this thought that it would be really cool if we had a coup de théâtre. What would they want? And then I was like, an amazing, enormous tuna puppet that was like 30 by 40 feet would be pretty incredible. So I called up Basil Twist, and he got really excited immediately and started sketching out his idea, and I think it's a real highlight of the show.
Some bands today have the experience of really working together and honing their craft. And other bands are very much like, 'I just got a guitar for Christmas, let's start a band.' And you can hear the difference.
When I discovered metaphor and what it meant, I got really excited. That was what really pushed me through into music.
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