A Quote by Tim Minchin

When I was 17, I rewrote the songs for a musicalized version of 'Love's Labour's Lost.' — © Tim Minchin
When I was 17, I rewrote the songs for a musicalized version of 'Love's Labour's Lost.'
I have this theory about us. When we started writing our own songs, we were 17 years old. When you're 17, you write songs for other 17-year-olds. We stopped growing musically when we were 17. We still write songs for 17-year-olds.
All the way out I listen to the car AM radio, bad lyrics of trailer park love, gin and tonic love, strobe light love, lost and found love, lost and found and lost love, lost and lost and lost love—some people were having no luck at all. The DJ sounds quick and smooth and after-shaved, the rest of the world a mess by comparison.
I have amassed an enormous amount of songs about every particular condition of humankind - children's songs, marriage songs, death songs, love songs, epic songs, mystical songs, songs of leaving, songs of meeting, songs of wonder. I pretty much have got a song for every occasion.
I love love songs. But I love pop music as well: Girls Aloud, Kylie, the Spice Girls, East 17, Mika.
I did 'Love's Labour's Lost' in the theater and found it to be riotously funny.
I quarreled with every word, every phrase and expression, every image and letter as if they were the last I was ever going to write. I wrote and rewrote every line as if my life depended on it, and then rewrote it again.
When I made 'Feed tha Streets,' those were the only 17 songs I had made, period. There was no cutting songs out or adding other songs in.
I'm a big techno fan. I love that thumping kick drum. We heard a version of 'Lost in Love' and it was thrash metal. It sounded cool!
This generation has lost the true meaning of romance. There are so many songs that disrespect women. You can’t treat the woman you love as a piece of meat. You should treat your love like a princess. Give her love songs, something with real meaning. Maybe I’m old fashioned but to respect the woman you love should be a priority.
When I wrote 'High Stakes,' I followed the classical format. I wrote an outline first, then a first draft, then got feedback and rewrote and rewrote it. I'd never done that before.
I was immersed in popular songs of the time, of the '30s and '40s. I was writing songs, making fun of the attitudes of those songs, in the musical style of the songs themselves; love songs, folk songs, marches, football.
I love deeply, and when it comes to singing love songs and something that I have no problem doing, I put all of my heart and soul into these love songs. I know my fans out there are listening, taking these songs to heart. Like I say, they're relating these songs to their lives, too, and their relationships.
I didn’t and don’t want to be a ‘feminine’ version or a diluted version or a special version or a subsidiary version or an ancillary version, or an adapted version of the heroes I admire. I want to be the heroes themselves.
Five or six songs leaked from the original version of 'Encore.' So I had to go in and make new songs to replace them.
I am fine with 'Puppy Love.' I hated it for a while. But I still sing it. I have a country version, a sexy version and a cheesy nightclub version. I am trying to infuse it with maturity. I will never escape that song. I will always be Mr. 'Puppy Love.'
Love is vivid. I never wanted the pale version. Love is full strength. I never wanted the diluted version. I never shied away from love's hugeness but I had no idea that love could be as reliable as the sun. The daily rising of love.
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