A Quote by Vijay Antony

I knew my limitations even when I was a music director. — © Vijay Antony
I knew my limitations even when I was a music director.
I knew my limitations and the limitations of the courts I played on, and adjusted thusly. I was at my best in bad conditions.
David Boreanaz is actually a very good director and he directed one of our episodes. Excellent director, knew exactly what he wanted. We never had long days with David. He was great, he knew exactly what he wanted and he's a fantastic director.
Just trying to get to know what director Bill Condon wanted. He's a great director and knows exactly what he wants. He knew every lyric to every song; knew where a handicap was.
I've always laughed at the term "female director" or even "black director." A director's a director.
When I was playing piano, it was like, 'I'm going to write a song using all the white keys.' My music director, who knew my jazz background, suggested I try big-band music, so we spent a year experimenting with it in concert, and the audience reaction was really good.
When I'm in the studio, I write the music, I play the different instruments, I produce it, I arrange it, and it's a self-indulgent exercise. It's the way I make my music. And when I'm acting, I get to leave myself behind, which is a relief. I get to collaborate with a director; I respect the director's medium and all the actors and actresses. So at the end of the day, it's about a character and it's about a director's vision. It's a really good balance for being so intense and alone in my personal process of making music.
Even in junior high, I always knew I had a talent for music and I knew I could make money that way.
Lata Mangeshkar is an old friend. I knew her through my father Aparesh Lahiri who was a music director in Calcutta.
I wasn't that academic, but I always made sure I was earning money. I never wanted to put all my eggs in one basket. Even when I started doing music, my parents were like, 'You need to work; you can't just live off music.' I always knew that. So I worked until I knew I was going to be financially okay.
I never knew I wanted to become a ballerina. I was discovered at the age of 13. I had a love for movement even though I had no exposure to dance other than what I saw in music videos, like hip-hop music videos. But I knew that I loved moving.
I knew from the age of four that I wanted to preach. I didn't even consider it strange that grown people were listening to this kid preaching until I was around thirteen. I have never believed in limitations.
I knew I loved music, and I knew that I could feel music. So, I knew I had rhythm.
Before writing a single note of music, and even before the spotting session, I find it best to sit down with the director and just listen to him or her talk about the film - what they're trying to say, what they want the audience to understand or believe, and a thousand other similar questions. The director has most likely been living with the film for years before a composer is attached, and so the director's inclinations, desires, and understanding of the film are paramount.
William Castle and Alfred Hitchcock were the first director-personalities. Before then, nobody in America knew what a director was.
A lot of directors don't know what they want to do. Every director I've seen that was a good director that I've admired knew exactly what he wanted to do. They didn't sit there and think about it.
Think of anger as a muscle. The way you express anger isn't the way that I do, or you. If you have a good director, you will find that he's getting you to use an entirely different muscle that you never even knew you had - it's real hard and sore, then after a while it becomes normal. And you discover all these new muscles when you enter a new character - that's what a director does for you.
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