A Quote by Christopher Young
'Sinister' is the first score I've done in which there's no orchestra in it whatsoever. There are traditional instruments I sampled, then manipulated, so you don't even recognize the source anymore.
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With 'Innerspeaker' I was trying to do these hypnotic '60s grooves, but it was so hypnotic and repetitive that they sounded like they were sampled. It was making electronic sampled music but using real instruments to do it.
The brain is more than an assemblage of autonomous modules, each crucial for a specific mental function. Every one of these functionally specialized areas must interact with dozens or hundreds of others, their total integration creating something like a vastly complicated orchestra with thousands of instruments, an orchestra that conducts itself, with an ever-changing score and repertoire.
You don't need to suffer anymore. You've suffered enough to take you to this point where you hear the words, "You don't need to suffer anymore," and you understand them. You recognize their truth and you then see that you do have a choice that you can surrender to the suchness of now, which means every moment to relinquish resistance and if it still arises, to recognize it.
You have to be willing to be manipulated in the first place because you can either recognize that in your director and then fight it because you don't trust them, but I'm not going to let them manipulate me. Or you think they're on to something and that they're manipulating something out of you which is interesting and new.
If Americans wish to preserve a country they will recognize, then the first step is to recognize the enemy. Public education is the enemy. The entertainment industry is the enemy. The corporate culture is the enemy. The advertising industry is the enemy. And most of the politicians in both parties are the enemy. An enemy is defined as anybody, or any organization, which is attacking the traditional beliefs of Americans.
I have recorded with a 60-piece orchestra, and it gives me satisfaction to have done an album entirely with acoustic instruments.
I was in orchestra in high school, but I really started when a friend of mine who's a drummer showed me some things. I was always just really fascinated with drums, it was the instrument I was always drawn towards. My ear sort of went to rhythmic aspects of music and songs. But he really was the beginning point of starting me on drum sets; like I said, I was in the orchestra first and I was playing orchestral snare and mallet instruments first.
[When you have kids] you become much more - there are two things that happen. You recognize how fragile individuals are, and you recognize the strength of the general overall group, but you don't care anymore. You're just fighting for the one thing. See and then, you also recognize that everybody, then, is also somebody's child.
We recognize the distinctness of Asian art when we turn to its traditional forms, recognize it as Japanese, Chinese and Indian, even Balinese or Thai.
I'm not going on the pitch just to score goals, I am going on there first to win and to play well and then, if I have the chance to score as well, that's even better.
To score in the World Cup final is not a small story, of course. Every footballer dreams of it: first to become a world champion and then, even better, to score in the final. This happened to me, and I'm glad.
Studios are often very nervous of things they don't recognize, by which I mean things that haven't been done before, and therefore, they take a really original idea, and they recognize the originality, and then they try and make it look like something they recognize. So they try to turn it into something far more procedural.
Mendelssohn I consider the first musician of the day; I doff my hat to him as my superior. He plays with everything, especially with the grouping of the instruments in the orchestra, but with such ease, delicacy and art, with such mastery throughout.
I sometimes feel a bit embarrassed to play guitar. There's something - I don't want to sound ungrateful - but there's something very old-fashioned and traditional about it. You meet kids today whose grandparents were in punk bands. It's very old and traditional, but then, so is an orchestra and so is a string section.
It's a hard, simple calculus: Run until you can't run anymore. Then run some more. Find a new source of energy and will. Then run even faster.
And over the last ten years, after my work with the Brodsky Quartet, I had the opportunity to write arrangements for chamber group, chamber orchestra, jazz orchestra, symphony orchestra even.
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