Hopefully each film can be given a musical voice of its own, which is not to say that the instrumentation is always unique, but that the relationship between the sound and the image is unique.
Sometimes just getting out of the house and doing something you haven't done in a long time (or never done!) can open up the doors to musical inspiration.
In no instance is there to be a musical or opera of Inherit the Wind because it doesn't sing. It's an intellectual play.
MIDI made a natural transition to the PC. The MIDI messages that make up a musical composition can be saved as MIDI files, which are collections of MIDI messages with timing information.
One has to draw upon one's own musical thoughts and one's own musical acumen, and not to be afraid to let that come into one's work. Perhaps that comes with more experience, but perhaps it also comes with daring, and believing that you should.
In the theater, it's about taking time in a musical segment, a pause in a musical way and then moving on.
Jazz vision is a wordless conversation between musical notes and visual expressions.
My parents were what I like to call proper musical fans. Lots of Sondheim was played in the car.
I think people like musicals. And when done with a modern comedic sensibility, musical comedy can be the most efficient delivery of both storytelling and jokes.
A lot of people told me that I'm committing musical suicide with my sound.
I've been traveling all over the world for 25 years, performing, talking to people, studying their cultures and musical instruments, and I always come away with more questions in my head than can be answered.
I had to go and sing with the musical director of the film, Simon Lee, who is just incredible, and it went great. I sang with him about five things, things we'd worked on. And then I went to sing for Andrew Lloyd Weber.
The world must be filled with unsuccessful musical careers like mine, and it's probably a good thing. We don't need a lot of bad musicians filling the air with unnecessary sounds. Some of the professionals are bad enough.
I'd say that my musical influences are anywhere from pop-rock electronica, new age and classical. But I think that specifically, bands - I love Jem, I love Sigur Ross, I love David Gray, I love Elliot Smith... a lot of different people. But I don't find lyrical inspiration from anybody.
There's an effort to reclaim the unmentionable, the unsayable, the unspeakable, all those things come into being a composer, into writing music, into searching for notes and pieces of musical information that don't exist.
A musical film is my idea of heaven. You can pre-record, you don't have to sing live. Singing live was the bit I hated the most. I never felt like a confident singer.
The many sounds of Memphis shaped my early musical career and continue to be an inspiration to this day.
I actually may do a musical next year... not one that I've written; one that I may star in. Plus my concert and other people's work and all of a sudden you've got a very full life.
For years, Ono's work - musical and otherwise - was, in large part, dismissed and derided; at best, it was often misunderstood.
First of all, I think that is true, if you are a musician, particularly on the come, that you do have to end up in one of these musical centers, some way, to be viable, saleable and so on.
My musical tastes go from Zeppelin to Bob Dylan to Kanye West and Lil' Wayne. Anything modern and progressive.
I think what made John Lennon so exciting as an artist is that, like Dylan and other musicians with a truly important musical legacy, he had several faces, personas that changed over time as he developed.
I would love to be an amazing singer. I take voice lessons. It's good to have as a dancer - to be able to sing and act, too, because for a Broadway show or musical, you have to be able to do everything.
In 'Seesaw,' I played Gittel Mosca, and because it was a musical, I loved it more because I was able to do anything. I was able to use all parts of me that I don't get to use... the comedy and the singing and the dancing.
If a movie musical came along and the part was right and somebody wanted me to do it, I would do it in a heartbeat.
Every year I go to Broadway to see a musical - I like the music. I saw 'Mamma Mia;' I saw 'Les Miserables;' I saw 'Phantom of the Opera' like six, seven times.
The Blind Boys are truly the deepest well of American musical heritage you can discover.
Even if you're improvising, the fact that beforehand you know certain things will work helps you make those improvisations successful. It really helps to have a certain amount of knowledge about musical structure.
I'm driven by the idea of characters and the song-cycle form is similar to a musical.
In my opinion I do not think I am a better guitarist than Ace, I honestly think we're both different, and we both brought something unique to the musical.
Without a doubt, I'd love to do Broadway. I actually can't wait to get back to musical theater.
I just wanted to see every single musical I could. The very first one I saw was 'Beauty and the Beast,' the only one I could get tickets for, and then 'Les Miserables' and then 'Chicago.'
One ends up relying on pure musical inspiration, and failing that, the music won't lead to anything good, or it will alienate all but the most die-hard fans.
It was about working with other musicians, but more than that it's about exploring musical areas that you could never do with the band you're in, in my case Judas Priest. You could tackle musical areas and lyrical areas that wouldn't be appropriate for Priest.
My first role was in the George Gershwin musical 'Crazy for You' at the Orlando Repertory Theatre when I was 11 - I grew up in Florida - and I wasn't old enough to be in it, but they let me anyway. I was just this little shrimp in a leotard.
People's musical tastes are fickle, and music can be a fashion.
