A Quote by Terry Goodkind

It allows you to say things that sound very dramatic and get away with it. If you had characters in modern fiction say the same things as they're driving down the street in an Oldsmobile they'd sound ludicrous!
When I think of the things that I want to write, I can never say them out loud because I know how crazy they sound. I know what things sound like when you haven't actually worked on the script, so I don't go around saying some of these ideas because they just sound awful.
I definitely prefer things to be dark, I definitely prefer things to not be particularly obvious. I like a lot of mystery in music, and I like it when things don't sound just like what they sound like always. But at the same time I like everything to sound very earnest and honest. So I don't really think that I have a definite stamp, but if people see that, that's awesome.
If I claim I'm the opposite of my characters, then it'll just sound awful. But I tend to write the sort of things I'd never say because I'm not a very forceful person.
I was afraid that science-fiction buffs and everybody would say things like, 'You know, there's no sound in outer space.'
I was able to interpret the difference between the sharp, quick sound and the slow, deep sound of percussion and manipulate it, get a third sound out of things, if the beats were rapid enough.
In fact, quite a lot of what I do has to do with sound texture, and, you can't notate that. You can't notate the sound of "St. Elmo's Fire." There's no way of writing that down. That's because musical notation arose at a time when sound textures were limited. If you said violins and woodwind that defined the sound texture; if I say synthesizer and guitar it means nothing - you're talking about 28,000 variables.
Yes, it's in my left ear. It's excruciating... I mean, it's the worst thing 'cause it's not... It never... It does go away - it's not true to say that it doesn't but, uhh... It doesn't... The doctors say it won't... It isn't actually going away - you've just gotta suppress... They try to come to terms with what it actually... Why some people fear it - that's the psychology behind it. They know it's there but why is it such a horrible sound? Well, you can say why is a guy scratching at a window with his nails such a horrible sound - I couldn't put up with that! This is worse!
I'm very opinionated and I have a lot of things to say. Sometimes I sound a bit like a willy.
I used to say to my dad, 'How did you and Mom stay married for all this time?' and he'd say, 'Two things. Number one: You gotta have the same dreams. One person can't be daydreaming about walking down the street in Paris, the other person want to work in a coal mine. Number two: We never wanted to get divorced at the same time.'
Think of the sound you make when you let go after holding your breath for a very, very long time. Think of the gladdest sound you know: the sound of dawn on the first day of spring break, the sound of a bottle of Coke opening, the sound of a crowd cheering in your ears because you're coming down to the last part of a race--and you're ahead. Think of the sound of water over stones in a cold stream, and the sound of wind through green trees on a late May afternoon in Central Park. Think of the sound of a bus coming into the station carrying someone you love. Then put all those together.
The only real struggle [in Doctor Strange] was casting spells - learning all these amazing things with fingers, and then remembering what to say at the same time. They would say, 'So you have to put your hands there, not there because the light is going to go [MAKES SOUND] so that kind of masks... but it was all good.
I do talk less now because the sound of my voice saying over and over the things I said years ago embarrasses and depresses me. Why do I say the same things over and over?
Some people say we have thirteen albums that all sound the same. That isn't true. We have fourteen albums that all sound the same.
There's no excuse for having a mental or creative block in sound. You can just go out and collect things in the real world - they make the sound, not you. It's very restricting to always use a library for sound effects. It's much more interesting and freeing to go out and record new sounds because you never know what you're going to get.
And when I'd be reporting in Israel, Palestinians would say, the Jews they're not like us, and the Jews would say the same things about the Palestinians, they don't want what we want. And I never bought it as a reporter and I don't buy it as a novelist. I think, you know, the sound of somebody crying for their lost child sounds the same.
You know music and sound design can be very powerful with how you use it but also the absence of sound can say a lot as well.
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