A Quote by Siouxsie Sioux
I suppose I was interested in creating a vision; in the same way, I was very drawn to tension within cinema. Hitchcock was my other early obsession - 'Psycho' and its score. So there was the sense of trying to create an atmosphere: how a sound resonates and makes an effect.
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I was never attracted to being a very proficient singer or player. I suppose I was interested in creating a vision; in the same way I was very drawn to tension within cinema.
I always relish the idea of collaborating with the director on creating the sound world, the sound spectrum, and the sound environment of the film. I use every means at my disposal to create a score that is as strong and powerful to enhance the director's vision for the film.
The way you create any outcome in your life is to hold the vision of your deepest desires. At the same time, though, you must honestly and accurately assess your current situation and how it relates to your greater vision. By doing this, you engage tension between what is and what can be. This tension is the primary creative force behind the manifestation of any outcome. It's as natural and powerful as the force of gravity.
There are many stories of people didn't set out to make a film that became a classic - the whole process was a disaster, everybody hated each other, the movie itself was a disaster, everybody thought the movie and the script was going to be a piece of crap. Look at Alfred Hitchcock and Psycho. Nobody wanted to make Psycho; it was crap to them. The only person that wanted to make Psycho was Hitchcock. Now, it's considered a classic and a work of art.
A lot of organizers are trying to figure out how do we create entrances for people so they can be involved in the work in a way that makes them feel is aligned to the things they're interested in and not the things the organizer is interested in?
I've become more interested in creating a band sound than trying to outshine the other guys.
I think you can spread yourself way too thin way too easily, so when I'm trying to create, I'm trying to create ideas for projects and have a vision for other people.
All sound heard at the greatest possible distance produces one and the same effect, a vibration of the universal lyre, just as the intervening atmosphere makes a distant ridge of earth interesting to our eyes by the azure tint it imparts to it.
Hitchcock's got a very interesting voice; it's a very controlled, measured rhythm that's quite slow and, in that sense, also felt quite controlling in its pace. He retained something from his childhood, that London sound, as well as adopting some of the L.A. sounds... All of this helps you create the character.
At some point, you have to disconnect, if the obsession with playing a real person gets in the way of the movie at large. At the same time, we're all interested, as actors in trying to get as close to the real thing as we can, and whatever you can do in order to create that transformation feels fun and, for me, the furthest I can get away from myself is fun. It's all part of the costume, the accent, and all that stuff. It's about trying to get close without it being a detriment to the point of view of the story that you're trying to tell.
I do write about obsession, but I don't think I have an obsession for writing. I'm not a compulsive writer. I like to watch obsession in other people, watch the way it makes them behave.
I think I'm fascinated with history and - just in general. And I'm always interested in how did - how did this come to be? Why is this the way it is? And even singing classical voice, I quickly became more and more interested with early music, baroque voice. And that became an obsession to me - just figuring out how - who are the ancestors of whatever it is.
[Alfred] Hitchcock was very interested in the image on the screen.As is any good cinema director. That is the language they speak. It is not literature, it is images on screen.
For me it's about creating and sustaining tension for as long as possible, and I'm not generally interested in allowing that tension to be deflated, especially by a jump scare.
What I'm really trying to do is recreate classic Hollywood cinema and classic genre cinema from a woman's point of view. Because most cinema is really made for men, how can you create cinema that's for women without having it be relegated to a ghetto of "chick flick" or something like that?
I'm very interested in dance, and I'm very interested in how people express themselves through movement. And of course, cinema is a kinetic art form. It's almost the point of cinema - it's time-based and movement-based.
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