A Quote by Sylvester Stallone
Making a movie is the same as an orchestra; it's moving all the different instruments and the sounds, the kinetic and the auditory and the visual all together. I'm probably the trombone.
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I like to piece together different guitarists, unlikely bedfellows. You have Jonny Greenwood playing next to Nile Rodgers on the same track, so it becomes like an orchestra of sounds.
After I learned the piano, I went on to learn percussion, the tuba, b-flat baritone, French horn, trombone, trumpet, most of the instruments in the orchestra. Trumpet was my instrument.
Initially, when I was making the bagpipes and reed instruments, it was different from the other instruments. In terms of sound itself, it may not be different, but in performing with it, it was a necessity to build it if I was going to perform and make scores with it. By making the instruments, it helped me compose the way I want.
At that time, 73 and 74, I became aware that there were a number of us making instruments. Max Eastley was a good friend and he was making instruments, Paul Burwell and I were making instruments, Evan Parker was making instruments, and we knew Hugh Davies, who was a real pioneer of these amplified instruments.
I made music on Seven the same way as on the other albums. I only used acoustic instruments... I'm looking for instruments that have vocal sounds, forgotten instruments like the guimbri... The first and second albums were about the voice, what came before. This album is about introducing those sounds into modern, Western life.
Consciousness is somehow a by-product of the simultaneous, high frequency firing of neurons in different parts of the brain. It's the meshing of these frequencies that generates consciousness, just as tones from individual instruments produce the rich, complex, & seamless sounds of a symphony orchestra
We should think of the church as an orchestra in which the different churches play on different instruments while a Divine Conductor calls the tune.
Regarding 'Ferris Bueller,' I was in the Czech Republic once, in Prague, making a movie at the same time as Jeffrey Jones, who played the principal, who was making a different movie. The Super Bowl was going to be playing at this bar at midnight, so we decided we would go watch the Super Bowl at this bar at midnight in Prague together.
In order to make my solo shows as interesting as possible, I moved songs onto very different instruments so that I was moving instruments quite a lot during the set.
One of the things I love about negotiations is that you have to be able to play it like an orchestra, different instruments for different circumstances. There's sweetness, and encouragement, and cajoling. There's pressure, there's drama, there's ultimatums.
I was a rapper and a DJ, and if you wanted to be involved in hip-hop, you had to be involved in the sonic, the kinetic and the visual aspects. The visual was graffiti.
Our fathers were actually business partners in the same real-estate firm, and we got together and thought, How can we get a movie together and get distribution and create a new movie genre? We started by making satires of commercials.
Images are not only visual. They're also auditory, they involve sensuous impressions, bundles of information that come to us through our senses, and mainly through seeing and hearing: the audio-visual field.
When you're too robotic and scripted, the students tune you out. So I always tried to use different learning modalities - kinesthetic, auditory, visual, whatever might bring learning to life.
An auditory scenario for the players to act out with their instruments.
If you can't play all the instruments in the orchestra of story, no matter what music may be in your imagination, you're condemned to hum the same old tune.
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