A Quote by Billy Packer

This is going to be a long three minutes here. — © Billy Packer
This is going to be a long three minutes here.
'Cause a musician, you can't tell me, "I've got this message I want share with the public," and it's three-and-a-half minutes long. That's not it. If your message is only three-and-a-half minutes long, then we got nothing else to talk about. Because life is more complex than three-and-a-half minutes.
If a piece of music is under three minutes long, it's rock. Over three minutes, it's classical.
If I play two minutes, three minutes, 20 minutes, it don't matter to me. As long as we win.
She let herself love me for three minutes. Can three minutes last forever? I ask myself, but already know the answer. Probably not, I reply. But maybe they last long enough.
Three minutes thought would suffice to find this out; but thought is irksome and three minutes is a long time.
You read about these oyster-shucking contests: Somebody did 100 oysters in three minutes, three seconds. I'm lucky if I can open one in three minutes, three seconds.
I take 10 minutes. I focus on what I'm most grateful for. Then I do a little prayer for three minutes, a blessing within myself through God, and then out to my family and friends and all those I serve. Then my last three minutes are the three things I want to achieve most. At the end of 10 minutes, you are wired. Everything in your life gets filtered through that.
I meet a person, and in my mind I'm saying three minutes; I give you three minutes to show me the spark.
I'm not going to ruin my movie because of some stupid ruling that it has to be ninety minutes long. That's just like adding three more plates to the last supper, or an extra wing to the Pentagon.
Another way of working is setting deliberate constraints that aren't musical ones - like saying, "Well, this piece is going to be three minutes and nineteen seconds long and it's going to have changes here, here and here, and there's going to be a convolution of events here, and there's going to be a very fast rhythm here with a very slow moving part over the top of it." Those are the sort of visual ideas that I can draw out on graph paper. I've done a lot of film music this way.
It's really not that hard. If I do a Tonight Show, it's six or seven minutes. If I do a concert, it's 90 minutes. If I do an interview, that's 15 minutes. So by the end of the day I've done three hours worth of work.
I just feel such freedom to do whatever. If a song's seven minutes or ten minutes long, then so be it - it's that long.
I just kept going to the gym, and luckily I have a gym at home, so I just go in there probably for 30 minutes and then I go back out and then I go back in for another 30 minutes and accumulated like about three-and-a-half hours of working out a day. It was a lot. It was ridiculous. But I said I'm going to do it. I'm going to do it right.
Sometimes there's no qualitative difference between two-and-a-half and three-and-a-half hour shows. It's just a matter of how long you do it. It's not like the show must be three hours and 30 minutes to work. That's just not the case.
Three-quarters of directors waste four hours on a shot that requires five minutes of actual directing. I prefer to have five minutes' work for the crew - and keep the three hours to myself for thought.
My songs have a lot going on in them -they're packed with sounds. When I have only three or four minutes to capture something, I guess I can't stand the idea of any bar going unloved.
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