A Quote by Diplo
When we think about big records, a lot of producers are thinking of how to make it as standard as possible. I think those days are gone. I think you have to surprise the audience in 2015.
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When I'm on set, I don't really think about what an audience is going to think about a scene. I'm just thinking about how I can make it best. And how I can enjoy myself most.
To spend any time with someone who is among the top five film composers of the last 50 years is pure gold dust. I mean, not necessarily stylistically, because everyone is different in what their music sounds like, but the approach and how to look at a film, how to think about a film, how to decide what you want to do, how to think about characters, how to think about art, how to think about narrative, how to liaise with producers, how to liaise with directors.
You're in a movie, so you have to think about how something plays. It's not like you're thinking about how an audience is going to react. You're trying to present the story. You're trying to illuminate the lives of these people in the story. So I'm thinking about how my behavior as this character best illuminates what's going on with them in this moment in time. I always say it's sort of the director's job. People think that the directors direct actors. No. Really, what the director's doing is directing the audience's eye through the film.
Confidence in markets and in institutions, it's a lot like oxygen. When you have it, you don't even think about it. It's indispensable. You can go years without thinking about it. When it's gone for five minutes, it's the only thing to think about.
I think about all these influences and musical cultures, then the opinion of the audience is of course important, but when I'm working on an album or a new project, I'm not all the time thinking about what the audience will think about it.
When it's a moral grey zone, the audience has to think about what they feel and what they think is right or wrong. You want to affect your audience and make them think.
there is this one photograph... that is just beautiful. it would be impossible to describe how beautiful it is, but i’ll try. if you listen to the song “asleep,” and you think about those pretty weather days that make you remember things, and you think about the prettiest eyes you’ve known, and you cry and the person holds you back, then i think you will see the photograph.
I think that its easy to think of the environment as all doom and gloom and that, 'What can we do, it's too late. And the polar bears are gone, and everything is gone.' But really, just the little steps that we can make as individuals make a big difference.
The decision about digital or film is going to be made for us. I think the answer is that film is gonna be gone, although I think it'll make a comeback; it'll be like vinyl records or something.
We tend to think of Steam as tools for content developers and tools for producers. We're just always thinking: how do we want to make content developers' lives better and users' lives a lot better? With Big Picture Mode, we're trying to answer the question: 'How can we maximize a content developers' investment?'
I don't think about the audience, I don't think about what makes them happy, because there's no way for me to know. To try to think of what makes for entertainment is a very Japanese thing. The people who think like this are old-fashioned. They think of the audience as a mass, but in fact every person in the audience is different. So entertainment for everyone doesn't exist
I think a pilot is a pilot, no matter who's judging it, but I will say I am thinking a lot about how to tell stories for the series in a streaming environment where you can anticipate a huge portion of the audience will consume an entire season in the course of a day, two days or a week.
People don't just get upset. They contribute to their upsetness. They always have the power to think, and to think about their thinking, and to think about thinking about their thinking, which the goddamn dolphin, as far as we know, can't do. Therefore they have much greater ability to change themselves than any other animal has, and I hope that REBT teaches them how to do it.
I think I understand what bands want, just from having made records myself. I understand what it takes to get a good vocal sound, or to make people comfortable in the studio. From minor things like their headphone mix - and if a singer's singing, how they should hear themselves - to how to make people feel that they're getting exactly what they want. All those things, I think, are an advantage, especially the part about having done it myself. I'm not just an engineer who records the sounds well. I'm not afraid to take chances.
Thinking about making a love story without music was really frightening, Sciamma admitted. Because every love story we know, we think about 'Titanic' we think about the music, we think about 'Gone with the Wind' we think about the music, we think about 'E.T.' we think about the music, and every love story has its own tune, 'That's our song.'
I try not to think too much about what the audience is thinking and what they think I should do. I'd be self-conscious if I did. Anyone becomes mannered if you think too much about what other people think.
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