A Quote by Tori Amos
For a song cycle to work, you have to feel these things when you hear them and you either have an emotional reaction to it or you don't. The plotline is something that gets woven together in the backstory.
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For a song cycle to work, you have to feel these things when you hear them and you either have an emotional reaction to it or you don't. The plotline is something that gets woven together in the back-story.
If you take text and image and you put them together, the multiple readings that are possible in either poetry or in something visual are reduced to one specific reading. By putting the two together, you limit the possibilities. Text and image don't always work together in the way music and song lyrics become part of each other.
Usually when a song comes to me, I don't ask a lot of questions; I hear something, and I just let it out in song. It's like making a salad. Everything I hear, and everything I am, I mix together in a different way in each song.
It's incredibly important to me that you remember a song right after the first or second time you hear it. That something sticks to you, something that makes you feel, 'I need to hear that song again.' That's fundamental. Something you want again. And again.
I like working on stage because there's something very immediate about it, that interaction with an audience where you immediately hear their reaction, or feel them, whether they're with you.
When I enter a club and hear my song being played, I feel like it's not really my song and when I see people dancing to my song, I feel like jumping up on stage and treating them to drinks.
My work is on the one hand laboured, and on the other completely happenstance and intuitive. But that's the swish in the work, I think. It's really important to me that the work isn't just sitting on top of something, that the materials are woven together - that they are recognisable and from the world.
Most of the time, I can't listen to the song after the video's done. Sometimes I'll hear a song that I've worked on at a restaurant or on the radio, and I'll have this visceral physical reaction.
I want to make people feel things when they hear my music I want to give a song to someone who is going through a break up, I want to give a song to someone who loves someone and can't tell them. A song for someone who has just fallen in love and a song for just people who are living their lives.
When I go onstage, I'm going to work ...I feel like my performance is about an emotional connection. I want to connect with people, whether it's like a romantic song or a happy song.
You need to keep everyone wanting more. Every character has so much depth, and there was so much thought that went into it, but it would've taken away at some point from the main story, and everything I think kind of was woven together really beautifully, so that you cared about everyone, and everyone had their own story, but everything helped the main plotline.
Usually when you meet with a director, just meeting them after you've seen something you're interested in, they say, "Oh I'd love to work together," and sometimes you never hear from them again.
For me, the best characters are the ones that feel fully formed inside and out, so I try to have a very clear vision of exactly what they would wear, top to bottom, who they are, what their backstory is, what their family situation is, who are their friends, just creating as much of a three-dimensional character [as possible]. Because I think you could do a very broad character, but as long as there's some emotional truth to them you can get away with really crazy things.
When I was 4 or 5 and I could put complete thoughts together and really feel them, I remember watching the Grammy's or something like that and getting real emotional because I wanted to be up there.
The songwriting did come naturally; it really did. Like Joe said, the first song we ever wrote together was the song that got us signed, you know, so it was either luck, fate, or something in between.
Man, I'm 31 years old and a husband with four kids; I hope I'm no thug. I hear all those negative things and don't hear anything positive. I think that's all those people feel... that way that's all they hear about when you hear Allen Iverson did something negative or something.
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