A Quote by Anthony Daniels

You know, a lot of people are loath to go to an orchestral concert because they are intimidated by the thought. — © Anthony Daniels
You know, a lot of people are loath to go to an orchestral concert because they are intimidated by the thought.
I don't like the sound of my own voice. And, for people I don't know, their impression of me is what they read on the internet, and they're so far off a lot of the time. I think people are intimidated by me, and I don't know why. Sometimes even my own bandmates can be intimidated, or irritated, by me. I come across as arrogant somehow. In reality, I've probably got the lowest self-esteem of anybody I know, which has really been rubbed in my face lately in personal situations.
So it became in my mind a nine-carol service; an oratorio and orchestral concert all in one, but with narration. That's something I've learned about, because it's the story that keeps you in there. I wrote a libretto and I gave it to John Du Prez. We normally don't work in this fashion but I said off you go, and he went off for about three months. He brought me back this demo which blew my mind.
I don't get intimidated, you know. Because I feel like when you get intimidated, you become nervous, and then you turn to fear.
I'm not like a legend that - so I'm sort of in the middle in this sort of gray area where, you know, I'm creating music, and I'm not saying there isn't an audience, because there is; because all of those people go out and spend $80 to $150 on a concert ticket.
I'm not like a legend that - so I'm sort of in the middle in this sort of gray area where, you know, I'm creating music and I'm not saying there isn't an audience because there is because all of those people go out and spend $80 to $150 on a concert ticket.
I think people are intimidated by me, and I don't know why. Sometimes even my own bandmates can be intimidated, or irritated, by me.
One of the things I've found really interesting about the show is that a lot of people really relate to our animal characters, more than we thought they would. Part of that is, because they are animals, people project themselves onto them. If BoJack just looks like Will Arnett, people go, "Oh, I know who that guy is. That's a Will Arnett type." But because he's a horse, people can go, "Oh, I'm kind of like him in some ways."
I'm sure that I was influenced by Goldsmith's large orchestral scores when I started out, and that was because the people who employed me wanted that kind of sound. I wasn't in a position to say, 'Go to Hell!'
A lot of times you go to a concert, and when you leave, you don't know anything more about the act then when you got there.
For many years I thought, "Well, I need to know a lot more to direct." But I looked around and watched all the people I know directing and thought, "No. I just need to know what I want it to be." Then there will be a lot of people to help me get it to there, especially Bobby Bukowski, he's a brilliant cinematographer.
I went out of Brazil very early, so the people in Brazil didn't know me well. So they didn't support me so much. I was never intimidated by this because I always knew that I had to go to the field and do my job.
I don't get intimidated. When I'm on set, I never really get intimidated by people. But in social situations, it's weird sometimes. You don't want to seem like you're kissing somebody's ass because they're a celebrity.
I'm loath to do interviews. What comes out is generally not what I meant or thought I was saying or thought they were asking.
Maybe you didn't know what people thought of you because they themselves didn't know what they thought of you. Maybe you didn't give us enough to go on, Hannah.
I had come from an orchestral background, but I didn't really have any orchestral pieces for film.
One would always like things to get other performances. With the lack of publishing here it's almost impossible to have an orchestral work done abroad because people simply don't know they are there.
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